2019 08 01 - ImagineFX PDF

9000 9001
WORKSHOP
IMAGINATIVE
SOFTWARE REALISM
LIFE BEYOND Master abstract
mark-making skills
PHOTOSHOP
The alternatives
Learn to mix digital
and traditional art
you need to try techniques – page 68
HOURS OF PRO
VIDEO TUITION
INTERVIEW
BECOME A JAW COOPER TALKS
LIFE, DEATH AND MAGIC
FANTASY
ARTIST
Create texture and
meaning in your
works of art with
Chantal Horeis
ALSO INSIDE
BRING A FANTASY
CREATURE TO LIFE
BASTIEN LECOUFFE
DEHARME INTERVIEW
ISSUE 176
DISCOVER THE NEW
TOOLS IN PROCREATE
Editor’s letter
Welcome to… EDITOR’S CHOICE Three of my top

picks this month…
20
Thanks for picking up this copy

of ImagineFX. A few new
readers have joined us recently,
both in print and digital, so
whether you’re flicking through
the pages of the paper edition Software greats without a subscription
Are you tired of Adobe’s ever-rising monthly fees?
or swiping across your screen We may just have the answer for you…
on the digital version, welcome
one and all! 56
I hope you’re enjoying our latest cover. It’s
breathtaking isn’t it? Chantal Horeis is a wonderful
artist and we’re honoured to have her work on the
front of the magazine. Find out how she draws
using traditional and digital methods on page 68.
I’m also particularly proud that we’ve finally got
to interview JAW Cooper. Because of her schedule,
it’s taken quite a while to set up the interview. She
seems much like her art – ethereal, elusive and hard Bastien Lecouffe Deharme
to pigeonhole – so I’m glad we finally managed to An artist with a legion of fans reveals why he chooses to
nab a rare moment with her. It didn’t disappoint. teach art as well as taking on numerous commissions.
Find out more about her on page 38.
I also recommend taking a look at Fatemeh
74
Haghnejad‘s workshop over on page 82. She’s
another artist I’ve admired for a while, so it was
great to commission her to do something for us.
Goodness, I’m so lucky to do this job aren’t I?
Claire Howlett, Editor

Write a letter
claire@imaginefx.com The ever-creative Max Ulichney show us around the new
text tools that have been introduced in Procreate.
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August 2019 5
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Contents
Your art 38 56
SUBSCRIBE & SAVE!
10 FXPosé
You submit your work to us and we then
show your gorgeous art to the world!
News and events

20 Alternatives to Photoshop
Can’t afford Adobe’s behemoth? We
round up the best low-cost art programs.
30 Artist in Residence
Children’s book illustrator Christine
Kornacki has assembled a colourful oasis
for the perfect work-life balance.
Features
38 Interview: JAW Cooper
Life, death, magic and Rupert the
Artist Portfolio
BASTIEN
perverted chinchilla: we step into the
British-born artist’s alternate reality.
48 Sketchbook: Chase Curtis Artist Portfolio

JAW LECOUFFE
Robots of all shapes of sizes – together
with the odd alien creature – fill the pages
of this vis-dev artist’s sketchbook.
56 Interview:
Bastien Lecouffe Deharme
We get up close and philosophical with
the French illustrator who lives by his
COOPER
“My personal work
DEHARME
“Anatomy, curves,
own “personal code”.
is cathartic…” flesh and bones”
Reviews Cooper draws out her influences The touchpoints in Bastien’s art
90 Hardware
95 Training 20 30
96 Books
Regulars
3 Editor’s letter
4 Subscriptions
8 Resources
28 Digital subscriptions
37 Letters
54 Back issues
80 Next month Artist in Residence:
Photoshop alternatives Christine Kornacki
88 Sign up for our newsletter
6 August 2019
Issue 176 August 2019
48 74
Workshops
68 Mix traditional and digital tools
There are many ways to use traditional
techniques to enhance your digital
artwork, as Chantal Horeis explains.
74 Use text tools in Procreate

Animation art director Max Ulichney
designs a children’s picture book cover
while making full use of Procreate’s
Sketchbook:
brand new text tools.
Chase Curtis Procreate’s text tools
82 Bring a fantasy character to life
68 Fatemeh Haghnejad quickly sketches a
young faun on paper, before using
Procreate to further develop the idea.
82
Fantasy character
Traditional and digital tools

Traditional Artist
104 110 100 Traditional art FXPosé
Explore this month’s selection of the finest
traditional art, sent in by you!
104 Workshop:
Abstract mark-making skills
Vanessa Lemen uses abstract mark-making
to conjure macro fantastical worlds within
her imaginative realism artworks.
110 Workshop:
Paint with pencil and acrylic
Tran Nguyen elaborates on the steps she
takes when creating an original work of
fantasy art for an exhibition.
114 First Impressions: Mong Sang

We speak to the South Korean artist whose
striking character work primarily has to
Abstract mark-making Pencils and acrylics
resonate from within.
August 2019 7
Resources
Getting hold of this issue’s videos and custom

brushes is quick and easy. Just visit our dedicated
OVER
2 HOURS
web page at https://ifxm.ag/fantasy176artist of video tuto
from pro artirsials
to watch andts
COVER WORKSHOP learn from!
Mix traditional and digital tools

GET YOUR Watch as Chantal Horeis combines a detailed pencil drawing with digital painting techniques
RESOURCES to create this month’s cover art. Her workshop on page 68 goes into her process in more depth.
1 Go to the website
Type this into your browser’s
address bar (not the search bar):
https://ifxm.ag/fantasy176artist
2 Find the files you want

Search through the list of
resources to download.
3 Download what you need…

Download the files or watch
them via a bespoke YouTube link.
8 August 2019
Issue 176 August 2019
WORKSHOPS Editorial
Acting Group Editor in Chief Claire Howlett
claire.howlett@futurenet.com
Art Editor Daniel Vincent
Operations Editor Cliff Hope
Contributors
Dominic Carter, David Cousens, Chase Curtis, Gary Evans,
Ruth Hamilton, Fatemeh Haghnejad, Richard Hill, Chantal
Horeis, Kerrie Hughes, Christine Kornacki, Vanessa Lemen,
Tran Nguyen, Max Ulichney
Advertising
Media packs are available on request
Commercial Director Clare Dove
clare.dove@futurenet.com
Senior Advertising Manager Mike Pyatt
michael.pyatt@futurenet.com, 01225 687538
Account Director George Lucas
george.lucas@futurenet.com, 01225 687331
International Licensing
ImagineFX is available for licensing. Contact the Licensing
team to discuss partnership opportunities.
Head of Print Licensing Rachel Shaw licensing@futurenet.com
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Explore Procreate’s new text tools Production

Head of Production Mark Constance
Max Ulichney’s video covers the latest addition to the Procreate toolset. More on page 74. Production Project Manager Clare Scott
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See Fatemeh Haghnejad bring a young faun to life in her video, then turn to page 82. reserve the right to edit, amend or adapt all submissions.
TRAINING The Anatomy of Style: The 3/4 Head Parts 1 & 2

Watch a clip from Patrick J Jones’ latest instructional video, which we review on page 95.
PLUS 6 CUSTOM BRUSHES, INCLUDING…
BASIC MAXU 600 SERIES PENCIL STARS

Chantal Horeis’ Photoshop brush Max Ulichney’s custom Procreate brush Chantal Horeis uses this Photoshop
can be used to fill in shapes on enables him to create a realistic pencil brush for painting stars, but it’s also
the canvas, and for outlining. sketch, especially with the Tilt setting. ideal for generating noise texture.
August 2019 9
2
THE PLACE TO SHARE YOUR DIGITAL ART
Joel Holtzman
LOCATION: The Netherlands MEDIA: Photoshop WEB: www.joelchaimholtzman.com
Joel is inspired by biblical themes, mythology, the

occult, military history and the grotesque. He aims to
capture scenes that look like they could have existed.
1 THE CORDYCEPS KING

“In ancient times, the
Scythians used incense and
2 KHAZAR BAGATHUR
“The Shamanistic Khazar
Turks converted to Judaism
3 AMORGES OF THE
AZURE HORDE
“This paintings is set in the
herbs to invoke visions of the around AD 700. While fall of Babylon in 539 BC.
past, future, heaven and hell; practising monotheism, some Amorges was one of the
sometimes believing they of the traditional warrior invading kings that helped
could commune with the castes in Khazaria still used the Persians invade the
gods themselves.” ancient spells in warfare.” Babylonian capital.”
10 August 2019 Want to submit your work? Visit http://ifxm.ag/getinifx

3
Want to submit your work? Visit http://ifxm.ag/getinifx August 2019 11

Adam Scythe
LOCATION: Hungary MEDIA: Photoshop, dip pen and pencil WEB: www.artstation.com/adamscythe
This freelance illustrator and comic artist is based in Hungary and

uses his work to show everyday wonders and struggles. He’s self-
taught, and works both digitally and traditionally.
1
1 GOOD MORNING
“A lot of dogs don’t
appreciate lazy Sundays.
My dog, who I based this
picture on, makes a
distinctive noise that goes
with her impatient stare.”
2 SOLVING THE WORLD’S

PROBLEMS
“I based this on long,
nighttime talks with my
One [wife]. Those ones
when you just talk about
everything, and when you
check the clock it’s already
the middle of the night.”
2
3 CAT FESTIVAL
“Cats are awesome. I like
how independent they are.
It’s almost like they have their
own secret society hidden
from our eyes. They deserve
a magical night festival where
we can celebrate them.”
4 IN FLAMES
“This one is about how
hard it is to go forward
sometimes. For example,
when we’re in the worst
possible place and
everything is falling apart.
But we can’t just stop, right?”
5 HER
“I drew my One [wife]
and tried to mix her
personality with her look.
She is the cutest and the
toughest person at the
same time. She’s just
pure awesomeness.”

3
4 5

Jenny Suwiwatchai
LOCATION: US MEDIA: Photoshop WEB: www.artstation.com/jimster_glider
Jenny is a Thai digital freelance artist who’s enrolled at Syracuse University

– School of Architecture in New York. Her works includes character design,
narrative illustrations, storyboards and short films.
1
1 SMOKE
“I put my own feelings into the
character. Waking up to find a super-
villain probably feels like waking up
to a fire drill with an exam the
following morning.”
2 MORNING COLLEGE COFFEE

“For this piece, I experimented
with light, shadow, foreground and
background. I started the overall
composition as figure-ground marker
sketches in my sketchbook.”
3 ROOFTOP STUNT
“I tried to depict an epic chase
scene where cars (and motorbikes)
don’t necessary touch the ground…
A fine way to escape.”

3

Samantha Kung
LOCATION: China MEDIA: Photoshop, SketchUp WEB: www.artstation.com/eqkung
While studying architectural design, Samantha became interested

in game and film concept design. She’s inspired by Macau, where
she’s based: it has rich cultural diversity and a range of architecture.
1 SWAMP TRIBE
“A mood painting to show how the
swamp tribe looks at nighttime, with
2
fireflies flying around. I wanted to create a

feeling of mystery and fantasy.”
2 BUTCHERY KITCHEN
“This shows the interior of the store
where butchers work. I blocked out the
basic form in SketchUp first, then added
details in Photoshop.”
3 MARKETPLACE (AERIAL VIEW)

“A large three-quarter design
depicting the open-air trading space and
the general layout of the marketplace.”
4 MARKETPLACE (VIEW FROM

THE GROUND)
“This piece illustrates how citizens move
around the marketplace, and how they
spend their daily life: celebrating with
friends and selling goods.”

3

Colin Boyer
LOCATION: US MEDIA: Photoshop WEB: www.colinboyer.com
1 JYN ERSO
“A cover for Star Wars:
Destiny. I wanted to show
a small person facing off
Colin is a freelance artist who works for Magic: The Gathering and against a vast empire, so I
creates cover art for Fantasy Flight Games’ Star Wars: Legion. juxtaposed Jyn against a
He’s studied both illustration, and classical drawing and painting. giant Star Destroyer.”
© & TM Lucasfilm Ltd

2 3
© & TM Lucasfilm Ltd

4
2 EMERGE
“This personal piece was one of my first
breakthroughs. It explores the theme of
3 BOSSK
“A Star Wars: Destiny cover showing one
of the bounty hunters from The Empire
4 TAPESTRY: UNRAVELING FATE
“This was my first book cover. Art
director Tommy Arnold was instrumental in
emerging from hiding.” Strikes Back. The TV series Rebels explored guiding this piece and for teaching me what
his home world, where this illustration is set.” makes for an effective cover.”

ARTIST NEWS, SOFTWARE EVENTS
AT THE CORE OF THE DIGITAL ART COMMUNITY
Elias Chatzoudis used Photoshop

HIDEHISA MIYAGAWA
to paint this portrait, but there
are plenty of Adobe-free options
available to today’s artists.
Best Photoshop
Give your fantasy character
designs a traditional media
look with Rebelle.
alternatives for
digital artists
Money saver Look beyond Adobe’s big-hitter and
explore a range of low-cost tools, with Kerrie Hughes
Photoshop is arguably the most some artists, others viewed having to

popular digital art software in the pay a monthly fee for all of Adobe’s
world. The image-editing software products just to use Photoshop as an
was first released in 1990 and has unwelcome development.
since become the go-to creative tool Competitors jumped at the
for artists and designers across the opportunity to try to topple
globe. Over the years the software Photoshop from the top spot, resulting
has not only grown in user base but in a plethora of new creative software
also in technical sophistication, and options becoming available. This quest
now features a range of complex to create the best art program means
tools to help create show-stopping digital artists now have more high-
art. It’s Adobe’s flagship product by quality, affordable creative software
some distance. options than ever before.
The lay of the land changed in 2013 So, whether you want to avoid the
when the company decided to change subscription route, are looking for a
its business model so users could no simpler art program to work with and/
longer buy Photoshop for a flat rate. or are on a budget, here are eight of
While the new Creative Cloud the best subscription-free alternatives
subscription service met the needs of to Photoshop on the market. PHILIPP NEUNDORF
20 August 2019
X-RATED KEEP IT REAL MAKE YOUR
ARTWORKS WITH TEAL VOICE HEARD!
Fed up of social media Children’s book This month’s reader’s
sites censoring erotic illustrator Christine letters page features
art, over 100 artists Kornacki’s favourite compliments on our
contributed to a colour adorns many recent interviews, and a
collection of sexy art, items in her studio, complaint about a slow
which was Kickstarted which even features postal service. You win
into book form. a vintage fireplace. some, you lose some…
Page 29 Page 30 Page 37
Rebelle enables you PHILIPP NEUNDORF

to experiment with
the properties of
watercolour paints.
Rebelle
Platform: Windows 7, 8 and 10; OS X 10.11 or better
Price: £71 Pros: Authentic painting experience,
affordable, free trial version Cons: Limited brush presets
Use Rebelle’s Tilt tool
to alter the angle of
Web: www.escapemotions.com
the canvas and make
your paints run.
JULIJA LUBGANE
If you’re looking for a program that provides a true-to-life

painting experience, look no further than Escape Motions’
Rebelle. This excellent, affordable program replicates
traditional painting techniques – watercolour in particular –
with absolute authenticity.
Rebelle mimics the way paint behaves in the real world,
enabling the users to simulate a drop of colour being blown
and running in different directions. You can specify blow
length, drip size and the amount of water you ‘use’ with
your paints. Meanwhile, the Tilt option makes it possible to
let your colours run in whichever direction you choose.
If there’s one slight drawback with Rebelle, it’s the limited
number of brush presets you’ll find included. However, the
option to create your own is available, with a built-in Brush
Creator tool to help making them a cinch.
A highly professional painting software package, Escape
Motions is keen to keep the focus of Rebelle on traditional
media and the best way to present it in the digital realm.
HIDEHISA MIYAGAWA And we have to say it’s doing a darn fine job.
August 2019 21
ImagineNation News
Procreate
Platform: iOS 12.0 or better Price: £9.99
Pros: Excellent value, professional toolset, highly responsive
Cons: iPad only, no animation tools, no free version
Web: www.procreate.art
If it’s a painting app for iPad you’re that it even bagged itself an Apple
after, you’d be hard pushed to find Design Award back in 2013.
better performance and value than With an easy-to-use layout,
Procreate. What first started out as a Procreate is packed with features
basic drawing app back in 2010, has artists will love, from true-to-life
transformed over the years into a pencils, inks and brushes, to advanced MAGGIE ENTERRIOS
highly professional tool – so much so layer compositing and unique digital

tools to help realise your creative The latest update to welcomed a long-awaited new Text
SAMY HALIM Procreate included
visions. Added palm support means advanced text tool with open arms. 2019 also marked
you no longer have to worry about manipulation tools. the release of a dedicated iPhone
accidentally drawing over your canvas, version of the painting app too, aptly
and an ever-growing library of named Procreate Pocket.
Procreate brushes will help you add There’s a free handbook on the
flair to your artwork. Procreate website, featuring an
Procreate has full support for both overview of all the apps features and
Warp and transform
first- and second-generation Apple options within the new tools, to help get you started. Lifetime
Pencils (depending on your iPad Text tool make it access to this all for under £10 begs
straightforward to add
model). And earlier this year, users signs to street scenes. the question, “Why wouldn’t you?”
NIKOLAI LOCKERTSEN
22 August 2019
Artist news, software & events
TRENT KANIUGA
SketchBook includes
over 190 customisable
brushes, together
with pencils, inks
SketchBook
and markers. Platform: iOS 10 or later; Android OS 4.0.3 or better;
OS X 10.12 or better; Windows 7, 8 and 10
Price: Free for personal use
Pros: Full version is free, gentle learning curve, large
canvas Cons: Tools focus more on drawing than painting
Web: www.sketchbook.com
When you think about the tools you might use to create
your next piece of art, Autodesk’s SketchBook might not be
one of the first products that springs to mind. But there’s
The program’s plenty more to this nifty little drawing application than
Predictive Stroke meets the eye.
tool helps to smooth
out your lines. GENNARO GRAZIOSO SketchBook offers a varied toolset for artists, with a huge
choice of customisation options, especially when it comes
to brushes. The program also has an intuitive interface,
which remains incognito until you need it to help make the
most of the workspace, and a creative workflow that makes
it much more accessible than you might expect. That said,
SketchBook clearly places the focus on drawing tools, so if
you specifically want it for painting then you might find it
lacks some of the authentic functionality found in other
dedicated painting software.
One of the best things about SketchBook, however, is
that it’s free to absolutely everyone. And we’re not talking a
watered-down version either. It includes all the pro tools,
including perspective grids, layer effects, premium brushes
and the ability to create as many layers as you want. All you
have to do is create an Autodesk ID after the initial seven-
PARIS CHRISTOU day trial period and it’s all yours.
August 2019 23
ImagineNation News
As with traditional oils,
you can push, scrape
and blend your paints
on the canvas.
The Temporal Color

Selector tool can be
moved to any part
of the canvas for
STEFANO PISTONATTO DMYTRO BIDNYAK precise selections.
AJMAL MOHAMMED
Painter
Platform: Windows 7,8 and 10; OS X 10.11 or better
Price: £270 (new); £135 (upgrade from previous version)
Pros: Improved performance, modern-looking user-interface, large selection
of brushes Cons: Expensive if purchasing from new
Web: www.corel.com
Corel’s Painter has undergone a chosen paper’s texture and grain,

makeover for its 2019 release, which making watercolour paintings look
focused on improving artists’ workflow more natural than ever. Add to that its
and software performance. enhanced support for multicore
Key new features include an on- processors – giving brushes a boost in
trend dark user-interface, with greater performance of up to 50 per cent –
clarity on its 650-or-so icons, making it and Corel’s right back in the digital
much more accessible for novice painting game.
users, and an extra 36 brushes added Painter is by no means cheap
to the software’s already extensive compared to the other programs
collection. Included in the new brush featured here, but it brings a range of
sets is an enhanced version of the Real unique art tools to the table and is still
Watercolor wet brushes, which have better value than a two-year
the ability to realistically interact with a subscription to Photoshop. MAGDALENA PROSZOWSKA
24 August 2019
ArtRage STEVE GOAD
Platform: OS X 10.8 or newer;

Windows Vista, 7, 8 and 10 Price: £63
Pros: Highly affordable, gentle
learning curve, realistic-looking paint
Cons: Brush resizing is awkward,
slight lag on larger canvases
Web: www.artrage.com
ArtRage is designed to ensure artists

can focus on their creativity. It offers
realistic oils, pencils, watercolour,
canvas textures and other traditional
media painting tools, many of which
are fully customisable.
The program’s minimalistic interface
disappears when you start painting
near it and returns as soon as you
finish. Popular tools are immediately
visible, with other less-frequently used
features concealed in pods to avoid
You can use the Palette
taking up space. A small workflow Knife to blend and mix
colours and textures
issue crops up in the program’s on the canvas.
multiple ways to resize a brush, but this
is by no means a deal breaker.
If you’re new to digital painting and
looking for an affordable, intuitive
program, ArtRage is an option
seriously worth considering. The The Brush Designer
software is also available for iOS and tool enables you
to quickly create
Android, priced at just £4. bespoke brushes.
Krita
Platform: Windows 7, 8 and 10; OS X 10.11; Linux
Price: Free Pros: Intuitive interface, customisable, free
Cons: Small user base, not much support
Web: www.krita.org
Krita was created by a team of artists who wanted to put

professional, quality tools within reach of anyone wanting to
flex their creative muscles. And over the past decade
they’ve come up with a pretty special open source product.
AMIT DUTTA Featuring an intuitive and customisable interface. Krita
can be set up to fully maximise workflow and enable access
Right-click anywhere
on the canvas to bring to its nine unique brush engines, which includes a Color
up a selection wheel
that enables you to pick
Smudge engine, Shape and Particle engine. There’s also the
a new tool and colour. ability to import and create and save your own bespoke
brushes, and a built-in brush stabiliser will ensure lines stay
smooth. You also get layers, masks, various transform tools,
HDR support and advanced selection functions.
While a great all-rounder, Krita is particularly well suited
to creating comics and manga art, and features panel
templates, perspective tools and halftone filters. It’s an
Krita gives you nine incredibly powerful painting program with no obligation or
unique brush engines to catches – just completely free to download and use
help you customise
your tools. MARRHERO whenever inspiration and creativity strike.
August 2019 25
ImagineNation News
Affinity Designer
Platform: Windows 7, 8.1 and 10; OS X 10.9 or better;
iOS 11 or better Price: £49 (desktop), £19.99 (iPad)
Pros: Excellent value, pro tools, free trial, desktop and
mobile version Cons: No Android version
Web: www.affinity.serif.com
MAN-TSUN TSANG
Affinity Designer has been snapping at the heels of Adobe’s

The program’s brush
Photoshop and Illustrator since the day it was first launched stabilisation engine
makes it possible
in 2014. This extremely powerful digital art application is full to draw smooth,
of intuitive tools to help bring your illustrations to vibrant accurate curves.
life. And, for a one-off £49 fee, it’s not hard to see why
many artists have already made the switch.
A precise vector graphics tool, Affinity gives you
complete control over curves, brush stabilisation options,
advanced blend modes and, wait for it, over one million per
cent zoom. And for those of you who prefer working with
raster graphics, there’s the option to switch to a pixel
environment, too.
Created initially for desktop, last year Serif announced a
companion app – Affinity Designer for iPad – so you can One minute you can
be painting with
also create on the move. There’s little we can find wrong pixels, the next you’ll
with this highly capable software, but if you want to make be manipulating
vectors – all from
up your own minds, give it a whirl with the free trial option. JUAN MANUEL OROZCO within the program.
´ ŠUMSKI
IVAN BLAŽETIC
26 August 2019
AT A GLANCE
NEIL EDWARDS
SAVE MONEY,
GET PAINTING!
Three more free art tools that
you may not have discovered…
Paint.Net
www.getpaint.net
Platform: Windows
A basic but capable digital art tool,

Paint.Net features an intuitive
interface and includes all the most
common features you’d find in a
painting program, including
support for layers and a variety of
special painting effects.
SumoPaint
www.sumopaint.com
Platform: Browser
SumoPaint is an online painting

application, complete with all the
standard features you’d expect
from a desktop tool: brushes,
pencils, shapes, text, cloning,
gradients and more. However it
only works in a web browser and
has limited features.
Clip Studio Paint

Platform: Windows 7, 8 and 10; OS X 10.11 or better, iOS 11 or better
Price: £38 (Pro version), £168 (Ex version) Pros: Free trial/affordable option
Cons: Advanced version considerably more expensive Web: www.clipstudio.net/en
Artweaver
If comic book creation or manga art is your Clip Studio Paint provides access to 36 pre-
www.artweaver.de/en
thing, Clip Studio Paint has a toolset that lends designed comic panel pages as well as the Platform: Windows
itself perfectly. It’s available in two versions – Pro option to use the program to create your own.
and Ex – the main differences being the number It also offers a variety of assets, including A large brush selection and
of tools you have access to, such as being able to characters, backgrounds, props and effects that customisable interface, Artweaver is
create multi-page comics in the Ex version you can add to your panels, and advanced pen a great painting option if you’re on a
compared to single-page comics in the Pro pressure detection for natural, realistic-looking budget. Even the free version of this
edition. Yet if you’re on a budget, the affordable pen strokes. There are options to work with both full-featured software is enough to
Pro version still provides you with plenty of raster and vector graphics, and a range of let you bring even the most
painting and drawing tools to achieve brushes, markers and shading tools. Explore the complex of digital paintings to life.
professional-looking art. trial version and see what it can do for you.
August 2019 27
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Available on iOS or Android
28 August 2019
Spiridon Giannakis worked

with his business partner and
co-editor Jean-Christophe
Caurette to sign up over
100 artists and launch
#hardcover on Kickstarter.
Detail of Pauline Voß’s

contribution to the
#hardcover project, which
The juicy story

she entitled Sexmagic.
of #hardcover
Under cover Over 100 leading artists take a stand
against censorship with this collection of X-rated work
#hardcover is a book of erotic art altogether. “When Tumblr changed its

created by some of the biggest policies and images got taken down
names in fantastical art, funded by a for exposed elbows, #hardcover was
Kickstarter project. More than that, already running, and it
it’s a protest against the censorship only showed everyone
of work on social media. involved how necessary it (above) A close-up of Spiridon. “Obviously, what resulted
Andrew Mar’s ink
The idea came when graphic was to create this book,” drawing entitled was slightly more extreme.”
designer Spiridon Giannakis noticed says Spiridon. You Are My Rock. The enthusiasm of artists to create
(below) #hardcover’s
more and more artists voicing their Over 100 artists supplied work, plain exterior gives no erotic art was matched by the appetite
hint at what’s inside…
frustration that artwork was being including major names such as Kim of art fans to see it. The Kickstarter
flagged and removed on social media Jung Gi, Abigail Larson and Pauline had a goal of just over £7,000. When
– and not just erotic art, but life Voß. “The artists involved were feeling the fundraising ended, more than
drawings and Renaissance paintings. put off by the limitations imposed on £132,0000 had been pledged.
Fear of being blacklisted has led to their expression. They hope to show “Aside from some people writing to
artists heavily cropping or censoring that it’s okay to create art without tell us we were going to hell, people
their work, or even avoiding nudity adhering to those boundaries,” says seemed generally excited – maybe
even relieved – to see so many of their
People seemed excited – maybe even idols creating adult art without fear,”
says Spiridon.
relieved – to see so many of their idols If you want to get your hands on
#hardcover, priced £35, pre-order it
creating adult art without fear at https://ifxm.ag/hardcover.
August 2019 29
ImagineNation Artist in Residence
I’m often working on long-term projects that cover several This kneeling chair is one of the best
months. It really helps me to have a quick visual calendar to purchases I’ve bought for my health. It helps
keep track of things. I painted the wall with teal chalk paint my posture when I’m working between my
and an acrylic paint marker to create a chalkboard calendar. drafting table, computer and Cintiq.
Christine Kornacki
I’m almost always sipping on a cup of
tea. I have a couple of mug warmers
throughout the studio to make sure that
it always stays nice and warm.
A reveal in teal Discover how this children’s book illustrator has

assembled a colourful oasis for the perfect work-life balance
When hunting for my complete with vaulted ceilings, working if I don’t have things well
first home last year skylights and a vintage fireplace (not planned out ahead of time (note my
I had one request: to mention a built-in bar). I’ve spent a large chalkboard calendar on the wall).
I wanted a big studio. lot of time over the years imagining That’s part of the reason I enjoy
Once I walked into a how I would set up a home studio to children’s books so much: it’s a large
house with this large, 500 square feet best streamline my creative workflow, puzzle and I love solving it. When I’m
addition in the back I immediately fell and with this house I finally had the working on multiple oil paintings at
in love with the room. chance to make it come true. once it takes some careful planning to
Most people would probably see I’m a very organised person. I love to stay on deadline.
this space as a family room, but I knew make to-do lists and schedules. It can I used to be a night-time worker,
that it was the studio of my dreams be hard for me to concentrate on staying up late every night after
30 August 2019
This is Scout (aka Baby Scout), my studio assistant. She spends her In case you haven’t noticed, teal is my favourite colour. I often During the winter months you’ll usually find me
days sitting in the window watching for birds, trying to prevent me get comments from strangers pointing out that I match with the bundled up in multiple layers to stay warm. This
from working by sitting on my lap, and stealing my seat (despite the multiple teal-coloured items on me at any given time. Teal and free-standing fireplace keeps me toasty warm
many chair options in the studio). navy were also my wedding colours. while I’m working.
I use references for all of my paintings and when I want a unique All of my finished paintings are in oils, but I do most of my Throughout my studio you’ll find a foam roller to work out
outfit for my character to wear, I’ll sew it myself. In college I couldn’t preliminary work digitally. When I’m working on 15+ digital the knots in my back, small weights to strengthen my
afford to buy a dress for a Rapunzel painting, so I borrowed my sketches for a children’s book it can save a lot of time to back, a yoga mat and a small pedal bike under my desk.
mum’s sewing machine and taught myself how to do it. have a large Cintiq for thumbnails and sketches. Physical health is important for a working artist.
While lost in the woods, a young girl finds herself face to face with Winter, in this
children’s book story that I wrote and illustrated.
August 2019 31
When I hurt my back years ago I needed a

setup to keep everything as close as possible
to reduce my neck and back movement.
I developed this magnetic easel by propping
a magnetic bulletin board on my easel, then
I just use magnets to hold up my painting,
palette, glass for mixing paint and all of my
references, to keep them within easy reach.
32 August 2019
Over the years I’ve been working on a series

of paintings where books come to life. This
piece was inspired by my trip to Los
Angeles, where its vast mountain ranges
reminded me of giant, soft pillows.
The Song of the Lioness by Tamora

I’m usually working on multiple pieces at once and it’s important to stay consistent. I created this Pierce is the series that got me hooked
display wall with magnetic paint and a strip of moulding through the centre. This way I can keep an on fantasy books in eighth grade.
eye on everything I’m working on, plus any other notes and inspiration I have.
August 2019 33
I spend most of my time listening to

audio books while I paint. This is a
cover Illustration for The Night Circus
by Erin Morgenstern that I couldn’t
resist painting after listening to it.
I got home from my day job to breakfast, make a cup of tea, and then
complete freelance assignments. get right to work. You can find me in
Working these extreme hours resulted the studio almost every day of the
in me suffering several artist injuries week (depending on my workload),
that have defined my studio setup. but I try not to work too many Although I have a lot of Once dinner time comes around I’ll
my artwork on display
After I met my husband and became a continuous hours doing the same throughout the house, finish up and spend the rest of the
full-time freelance illustrator, creating a thing throughout the day. I take several I wanted my studio night with my husband. I love cooking,
to be filled with
better work-life balance became tea breaks, with an hour-long lunch, inspiration. I’ve started baking and learning new things. Dinner
extremely important. and then do yoga or strength exercises a collection of prints often feels more like another fun
and original pieces by
for my back. Having a lounge area in artists I admire. My goal project for me and I rarely end up
THE DAILY ROUTINE my studio not only gives me the space one day is to fill my
walls completely.
making the same recipe more than
Every day I typically wake up naturally for, but also encourages me to take once. My goal is to really think about
between 6 and 7am, have some those all-important breaks. my life and career in the long run and
enjoy every part to the fullest without
After I became a full-time freelance wearing myself too thin.

Christine is a children's book author/
illustrator, creating a better work-life illustrator and book cover artist living in
Connecticut, US. You can see more of her
balance became extremely important work at www.christinekornacki.com.
34 August 2019
I like to participate in art challenges

such as Inktober and The 100 Days
Project. I’m currently doing 100
Days of Strong Female Characters,
as pencil drawings in a hand-
stitched sketchbook that I made.
I filled a bowl with over 200
characters and every morning
I choose a name to draw.
When I lived in a small apartment

I got a white flat file cabinet from
someone on Craigslist. I didn’t have
the space for it at the time, so I
refinished it and added wheels to
turn it into a coffee table. I put a
cutting mat on top and now it
doubles as a large cutting surface.
August 2019 35
GET YOUR
BINDER TODAY!
FEATURING
ARTWORK BY
LOISH
This sturdy binder, featuring cover art from our 150th issue, will store and
protect 13 issues of ImagineFX. Prices start at £10.99, which includes delivery!
ON SALE NOW! www.myfavouritemagazines.co.uk/ifx-binder
36 August 2019
Letters
New works that have

YOUR FEEDBACK & OPINIONS grabbed our attention
Contact the editor, Claire Howlett,
on claire@imaginefx.com or write
to ImagineFX, Future Publishing,
Quay House, The Ambury, Don’t want to wait for our latest issue to be delivered by
post? Take out a digital subscription to ImagineFX!
Bath, BA1 1UA, England
Follow us on Twitter: Claire replies Daisy, I’m pleased that you
www.twitter.com/imaginefx found us! We’ve been around for a few years
Tell us your thoughts on Facebook: but there’s always time for new people to
www.facebook.com/imaginefx discover us – welcome! Thank you for your
Post your art or photos on Instagram: kind words about our interviews. I love them,
www.instagram.com/imaginefxmagazine too. I usually make a cup of tea so that I can
AURA
take my time to discover what they’re really
@aura.arts
Animation issue finder! about. It’s a lovely change of pace to my
I thought I would email to say I have usual hectic schedule!
just discovered you. I saw something
about your magazine on Instagram and Toooo long!
went to find it at the newsagent as soon Why does it take so long for your
as I could. It’s the Quick Draw magazine to arrive overseas. I see you
Animation edition. I was very moved promoting your new editions, but I have
by hearing how and why Aaron Blaise to wait WEEKS until I see it in Seattle.
gave up working at Disney. I was so Do you all live in the dark ages? Why
DID YOU MISS
sorry to hear about the tragic reasons. THE PREVIOUS can’t you sort this out? Why can’t it be Keelerleah
I’m sure he knows he’s a such an PACKED ISSUE? printed here? @keelerleah
inspiration and I’m pleased that he’s Don’t worry – you Casey M, via email
found a new love in teaching. can still get hold
I really enjoyed looking at the art of it. Visit https:// Claire replies I hear you Casey, It’s just as
from Florian Satzinger as I hadn’t come ifxm.ag/ifx-175 frustrating for us, too. For a variety of reasons
across him before – his version of the magazine gets printed here in the UK
steampunk Mickey was fabulous. It was and then is shipped around the world.
refreshing to read a magazine with You can buy issues from our online shop
insightful comments for once and not (www.myfavouritemagazines.co.uk),
just end up reading about angry people which hopefully speeds up the process and
on Twitter on my phone. Thanks! also delivers the magazine to your door. The
Daisy, via email only other less dark age option for you is to go
digital. The issues are available worldwide
from the on-sale date. If you turn to page 28,
you’ll find that there’s a pretty decent deal for
these versions. They are exactly the same as
the magazine, with all the usual workshop
resources. Hope this helps.
Jason Roll
@jroll_art_illustration
Grease lightning!
Can you get artist Jama Jurabaev to do a
cover? You can see his work over at
www.artstation.com/jama. I’d love to
see him create something with the
Grease pencil in Blender. Thanks.
Christian, via email
Claire replies We’re big fans of Jama. He Tereza Grollmusová

did a great workshop for us at Vertex this @tessgroll
The imaginative art of year. He was also one of our sketchbook
Florian Satzinger and our
interview with Aaron artists. I’d love to get him in the magazine If you’ve created art that you want us to shout
Blaise made quite an again! Rest assured we have some cool artists about simply tag us on Twitter or Instagram,
impression on new or find us on Facebook!
reader Daisy. lined up for the cover. Keep your eyes peeled.
August 2019 37
Interview
ARTIST PORTFOLIO
JAW COOPER
Life, death, magic and Rupert the perverted chinchilla:
Gary Evans steps into the LA-based artist’s alternate reality
J
AW Cooper can tell you the exact Her mother also practised scientific
moment she got into art. Her illustration. Cooper, aged six years old,
parents worked in ecology and spent a summer at a research
evolutionary biology, specialising laboratory in the Sierra Nevada
in freshwater invertebrates. Her Mountains. Here she watched her
parents’ research took them around mother draw birds in great detail, and
the world, so Cooper grew up was “fixated.”
“somewhat nomadically.” “It seemed like such a mesmerising
She and her younger sister were free trick to make an image appear using
to explore their surroundings. In only a blank piece of paper and lines,
Ireland, she searched for oysters in the but I determined I could perform this CHILDHOOD DRAWING
caves of Oysterhaven. In California, magic too, if I took a methodical “Where it all started! Done as a bored six-year old.”
she fished mountain rivers with bare approach to learning.
hands till her fingers went numb. In “I drew grids on paper and then with drawing and improvement was
Kenya, she “bestowed unwanted drew a cat in each box, trying to the only one that caught hold and
attention” on all kinds of animals improve on the previous one each never let go of me.”
(“sorry, small wild tortoise who lived time and figure out what worked
in our front yard in Nairobi, that and what didn’t. I had many hobbies TOUGH TIME AT COLLEGE
I washed your shell every day”). as a young child, but this obsession Cooper attended Otis College of Art
and Design in Los Angeles. She doesn’t
remember her time there with any
I had many hobbies as a young child, great fondness. But the college was
but this obsession with drawing and expensive so Cooper felt that she had
to make the most of it, and worked
improvement never let go of me hard… too hard. She didn’t eat
properly and went without sleep. It’s
an environment she wouldn’t
recommend to others.
Artist
PROFILE
JAW Cooper
LOCATION: US
FAVOURITE ARTISTS: Norbertine von
Bresslern-Roth, Stepan Kolesnikoff, JC
Leyendecker, Harry Rountree, Sergio Toppi
and Hiroshi Yoshida
RUPERT
MEDIA: Photoshop, graphite, colour pencil,
gouache, acrylic, oil
“My chinchilla Rupert is a non-contributing sponge WEB: www.instagram.com/jawcooper
and has yet to ever pay his half of the rent.”
38 August 2019
JAW COOPER
STEALTH
“For this screen print the spots
of the leopard were printed
slightly glossy, so they appeared
or disappeared depending on the
angle you looked at them from.”
August 2019 39
Interview
WOODSTORK
“This Wood Stork was
drawn from taxidermy at
the Santa Barbara Natural
History Museum.”
“Otis College is primarily a

money-making institution, as are all
private art colleges. I have great love for
my teachers. I have great love for my
fellow students. But I have less love for
Otis as an institution than I do for the
dealership where I bought my car.
“I wouldn’t be where I am today
without the connections and
friendships I made while in art college,
and it may have been the right choice VIGOR
for me, but it certainly isn’t the only “I see myself as an old
woman trapped in the
choice available to you.” body of a slightly-less-old
woman. Tough old
ANSWERING THE ILLUSTRATION CALL women are my heroes.”
Cooper wanted to work in

entertainment design – concept art,
creature design – but fell in love with
I toil in anonymity as just one small
illustration and traditional media.
After graduating, she struggled for a
part of a larger, very talented team –
couple of years as a freelancer editorial which I enjoy immensely
illustrator and doing gallery work, then anonymity as just one small part of
got a job at an advertising agency, first a larger, very talented team – which
as a sketch artist and later as an art I enjoy immensely.”
director on TV and film campaigns. Because her commercial work is
This is still her main day job. quite regimented, Cooper make sure
She doesn’t deal directly with clients she has complete control in projects
(and signs NDAs so can’t name names outside of work. Generally, she doesn’t
either), but her work is “100 per cent take commissions. She will take on the
about fulfilling the needs of the odd commercial illustration project if
project.” In other words, her drawings, it’s interesting or challenging. But she’s
usually done digitally in Photoshop, selective about it. Free time is for
help sell the client an idea. If approved, making books, prints, gallery art.
SHITTY CHICKENS these sketches end up as photographs. “My personal work is cathartic
“These may not be the
chickens you want… but Nobody outside of work ever sees and helps me hone my voice, which
damnit, they’re the
chickens you deserve.” her original drawing: “I toil in I’m then able to bring to my
40 August 2019
JAW COOPER
HUNGRY WITCH RISE
“This was the last in a
“I was frustrated with my work series of five paintings
after an inspiring trip to from 2013 about
Croatia last year. To break out overcoming self-
of my rut I tried forcing myself destructive tendencies
to be looser while doodling at and processing grief.”
my usual coffee shop every
morning, and made this along
with several pieces like it.”
TIDE OF EXISTENCE
“I love listening to Alan
Watts’ lectures and
this was one of many
pieces I made inspired
by his words. Also, I’m
enamoured with old
scientific illustrations
of vegetables.”
August 2019 41
Interview
FALLING WITH STYLE

Want to paint like Cooper? Better learn to fall down a flight of stairs gracefully
“Each piece is quite different in process red (1). Next, I transfer the sketch to a value structure (4). I pick out the darkest
because I like to experiment at the last heavyweight printmaking paper, either areas with fluid black acrylic, then wash on
minute. Something inevitably goes awry, Stonehenge or Fabriano, using my massive gradients to create the vignette effect and
then I have to get creative to fix it. Painting lightbox (2), and then I mount the paper to introduce colour (5). Next, I seal the surface
feels like falling down a flight of stairs a rigid gesso-board using matte medium. using several thin layers of GAC 100 and
wearing rollerblades and trying to look as (I wrote a tutorial on this process over at when it’s dry I start glazing on deeper
graceful as possible on the way down. Here’s www.jawcoopertutorials.blogspot.com.) colours with oil paints (6). Once dry to the
just one flight of stairs I’ve fallen down… Once the painting is mounted I use thin touch I varnish with Gamblin Gamvar (7), let
I start with a sketch on cheap bond paper washes of waterproof India ink (3) to seal it dry and then remove the tape along the
with my trusty Colerase pencil in Carmine the drawing in and to begin to establish the edges (8). And the painting’s done! (9)”
1 2 3 4
5 6 7 8
commercial work. In turn, my for storage – a Cintiq tablet, a scanner, effects her work most is paper. She
commercial work enriches my and a printer. Next to that, an L-shaped sketches on Canson Recycled 50lb. It’s
personal work with new ideas and desk for drawing and painting. There cheap but feels nice, and it’s thin
visual influences – and it pays my bills are two other desks in the room, both enough to see preliminary sketches
so that I’m able to focus on other piled with “tons of bullshit.” placed underneath. For final pieces,
things in my free time.” “A lot of artists have these beautiful, she uses Stonehenge and Fabriano
chaotic, messy work areas, with Artistico papers.
CURIOS AND CHINCHILLAS photos, inspiration nailed to the walls,
Los Angeles is a good place for the paint on the floor, tools lying around CABINET OF CURIOSITIES
working artist. There’s a big creative in cans.... but I’m a control freak and One area that’s not upsettingly bare is
community and good resources. I like things tidy. So my work area is the cabinet that contains her curio
Competition’s tough, but there’s plenty upsettingly barren and I currently have collection. These are her most
work to round. It’s a town where an no artwork up on my walls.” treasured possession: skulls and
artist can “thrive economically.” Art is kept in flat files in the living taxidermy(“all natural-death and
Cooper has a studio at home. It’s a room, where three large cabinets run cruelty-free”), and the gems and
large, open loft with concrete floors, along one wall and contain all her minerals collected on camping and
big windows, high ceilings… and traditional art supplies: pens, pencils, road trips (“I love how they look like
Rupert, a “tiny, perverted, 16-year-old drawing paper, oils, acrylics, gouache tiny alien planets”). Cooper’s other
chinchilla who rules my life and paints, sculpture tools and power tools. favourite workspaces are the café, with
humps my fuzzy slippers.” She likes certain brands: Blackwing a chocolate croissant; and the couch –
She has a big, heavy desk, with two pencils and Winsor & Newton with a good documentary about
computers – new one for work, old one Designers paint. But the material that murderers playing on the TV.
42 August 2019
JAW COOPER
GIVE ME DARKNESS
9 “When I get stressed out by the minutia
of daily life, my mind inevitably drifts to
camping. I crave the cold, solitude and
darkness of sleeping alone in the mountains.”
August 2019 43
Interview
SHAPESHIFTER
“This piece was inspired by
the amazing life cycles of
animals in the class of
Hydrozoa, and by hydras
specifically, which are
biologically immortal.”
She has a few different

ways of working – it depends
on the kind of image she’s after.
Drawing is her first love. She likes
the immediacy of it. For quick
sketches she’ll go to the café, get
comfy and then observe. There’s
no planning. She draws whatever
comes to mind.
Landscape paintings – Cooper does
a lot of hiking and camping, usually
alone. She’ll take a ton of photographs
before returning to her studio and
working up a small, quick paintings
based on the photo. Her aim here is to
recreate on the canvas how she felt
while in this particular landscape.
MANY SOURCES OF INSPIRATION

Narrative pieces have a more intricate
process. She makes lists of words. The
words become a sentence. And the aim
of the sentence is to encapsulate an
emotion, an idea, a motif. Cooper
photographs herself if she needs need
a reference for a pose. Sometimes she
does a thumbnail, other times she
dives straight in. The sketching process
begins by putting down a key element
– the main figure, the animal – then
she builds the rest of the image around
it. The sketch should be falling into
place by now. She adds and edits by A lot of artists have
referring back to the word or sentence
that underpins the image.
beautiful chaotic work
Routine’s good, but not essential.
Cooper enjoys getting outdoors too
areas… but I’m a control
much to keep strict hours. Things freak, I like things tidy
44 August 2019
JAW COOPER
MEOWTSOURCING
“While sketching for my most
recent art book Pastoral I got
a little burnt out and decided
to meowtsource some
of the work…”
VISCERA
“The cover art for Viscera, one of
© Flesk
my first three art books that was

released through Flesk Publications.”
“RIGHT BACK
WHERE I STARTED”
Cooper doesn’t particularly like her illustration
work. Here’s why you shouldn’t like yours…
“My commercial work as an art achievement lasted for a week at
director is 100 per cent about most before I was right back where
fulfilling the needs of the project. I started: working hard to try to
Because my commercial work is so outrun my dissatisfaction again.
structured I avoid any outside No technique or commission, or
creative control in my personal award or job will fulfil you and no
work. I stopped taking commissions loss of a commission or award or
years ago and I’m extremely job will destroy you. In my
selective about what commercial experience fulfilment comes
projects I accept in my ‘free time.’ simply from making things and
I mostly make work for myself chasing your curiosity.
through gallery shows, releasing I don’t particularly like my work
prints and releasing books. and I hope I never do, because that
Releasing my first two books with dissatisfaction keeps me pushing.
BADGER GIRL the incredible Flesk Publications

was a recent milestone for me, but
Yet I adore the process of making it
so much that I can’t imagine
““Another coffee shop doodle. I
randomly bought a Carmine red pencil I think the ‘glow’ I felt from that stopping anytime soon.”
on my way to get caffeinated, loved
the colour and went to town with it.”
August 2019 45
Interview
COWBOY FROG
BLOODHOUND
“I drew this in a coffee shop.
I remember a woman came
in with an enormous cat
riding on her shoulders.
The barista poured it some
water, which it politely
lapped up from a cup.”
Death has always been a big part of

my work, but not in a negative, cruel
or destructive way
become a bit more rigid when a animal tells us something about the
deadline looms. But usually she works human’s interior life. Monkeys
when she wants to work. Luckily, she symbolise rage and violence. Sphinx
wants to work a lot. cats represent the grey area between
the wild and the domesticated. Cicadas
MAKING THE CONNECTION mean death.
If Cooper had to say what separates Cooper’s art references everything
good art from great art, her hunch is from philosophy to psychology. But
it’s “the ability of a piece to connect you wouldn’t necessarily know it. The
with a viewer on an emotional level.” challenge is to imply a lot with very
But how do you do that? little. She makes an image appear using
Cooper describes her own work as only a piece of paper and lines, and,
illustrative fine art – more surreal than when it works well, when it connects
fantasy. She once heard her art with the viewer on an emotional level,
described as “folklore from an this image becomes more than some of
alternate reality.” Shes likes that. Her it’s parts – like a magic trick.
work can be violent, but this is never “My personal work is a reflection of
violence for the sake of it. It should be my past experiences, my perspective
taken too literally, either. Similarly, on the reality, and whatever I’m
nudity isn’t always sexual. It shows currently curious about.
how a subject can be simultaneously “Death has always been a big part of
© Flesk
strong and vulnerable, but without my work, but not in a negative, cruel
being weak or victimised. or destructive way. To me an
Typically, the humans in her work examination of death reveals the FRUITION
“This is the print we released with my latest art book Pastoral, and is a
are real, the animals symbolic. The beauty and urgency of life.” version of the artwork from the cover.”
46 August 2019
JAW COOPER
RATTLE
“A preliminary sketch from my 2013
series on overcoming self-destructive
tendencies. This stage was about the
feeling of hollowing out before you
can rebuild yourself.”
August 2019 47
PROFILE
Chase Curtis
LOCATION: US
Freelance visual
development artist Chase
is based in California, and
has always had a passion
for sci-fi worlds and the
supernatural creatures within them.
d d a lie n creature He’s worked with companies such

as Sony, Marvel and Oakley, and is
g et h er with the o tc hbook

always looking for new opportunities
siz es – to tist’s sk e to bring original characters to life.
o f all sh apes of de ve lo pm ent ar www.pkcaconcepts.com
Robot s this visua l

p a ge s of
– fill the
GIANT
REPO MAN
“This giant robot was
constructed to collect
criminals. He acts as
a bounty hunter, with
help from his flying
globe-bots.”
BARTENDER ALIEN
“This alien was injured in battle and
as a result has tank wheels for legs.
I was influenced by the Star Wars
dive bar scenes and the different
creatures that stopped by
for a drink or three.”
APOCALYPSE
HITCHHIKER AND HIS DOG
“For this sketch I was just messing around
with things to fill in the foreground of the
scene to the right. I think at the time I was
reading Cormac McCarthy’s The Road,
which really inspired me.”
48 August 2019
Sketchbook Chase Curtis
STREAK
THE BOUNTY HUNTER
“Inspired by Netflix’s Altered Carbon, this
bounty hunter is half-human, half-robot
and can switch bodies whenever his
killing streak ends.”
I combined animal
anatomy with the
geometric shapes
of weaponry
MILITARY
ELEPHANT
“I came up with this concept
during #marchofrobots. I was
trying to combine the organic
anatomy of animals and
geometric shapes
of weaponry.”
ERIC
“Eric is a lizard-like
alien that was raised to
be human. His diet
consists of apple cider
4001-6
vinegar and fish.”
“This was a pleasure robot

vixen concept I had in mind. She
acts as a weapon to lure men in
who don’t pay their debts.”
August 2019 49
BRAIN
STORMING DOODLE
“I came up with this sketch
when I had bad artist block for a
character. It’s always fun when
you sketch something
and it turns out to be a
happy accident.”
PLANET NAVIGATOR ROBOT ANCIENT

“I wanted this robot to help space pirates to
navigate uncharted areas on distant planets. The
CAVE VAMPIRE
“I wanted this character to
robot would almost serve as a GPS/metal be very reclusive and
detector to find wanted convicts.” spend most of its time
stalking wandering
travellers in caves.”
50 August 2019
SCRAP-PARTS
ROBOT PET
“For this sketch I was thinking of
a character and his pet robotic
protector in a wasteland of
machine parts. The main
character would walk around and
scavenge the world to build
and upgrade his robotic
companion, which protects
him from any threats.”
I was thinking
of a character and
his pet robotic
protector…
August 2019 51
CORVIS
THE BANISHED
“Corvis is an alien serial killer whose radical
religious beliefs have led him to wipe
out everyone who disagrees
with him.”
REVALIN THE WISE

“Corvis’ older and wiser brother. Revalin is
crippled due to his brother’s attempts to
kill everyone in his family. He is a
profit with telekinesis.”
BIOMECHANIC
SQUID SUBMARINE
“I wanted to draw submarines
with a likeness to sea creatures,
so that they could blend in,
observe and research animal
behaviours without
being attacked.”
52 August 2019
This character’s staff
shoots lightning bolts
into his enemies…
ROBOTIC ORB
“The robot’s floating orb
brain leaves its body to upload
information from other machines,
gaining access to codes that
benefit its masters agenda:
to break into highly
secured areas.”
THE MAN
SLICER DROID OF WAR
“This robot can cut his
enemies to smithereens and can
JELLYFISH
“Inspired by Finding
slice machines with his Nemo, this character is
blade-like arm. He uses the frequently misjudged
fallen scraps of his enemies because she’s
to remodel himself.” highly poisonous,
yet kind.”
INDIGENOUS
ROBOTIC WARRIOR
“This character lives on a mechanical planet
and is the finest warrior in his tribe. His staff
shoots lightning bolts into his enemies,
shutting down their bodies.”
Do you want to share your sketches with your fellow ImagineFX readers? Send us an email with a
selection of your art, captions for each piece and a photo and bio of yourself to sketchbook@imaginefx.com
August 2019 53
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August 2019 55
Interview
ARTIST PORTFOLIO
BASTIEN LECOUFFE
DEHARME Gary Evans gets philosophical with
the French illustrator who lives by
his own “personal code” – and
encourages you do to the same
T
he professor wore was into. It was more about conceptual
sunglasses in class and stuff, abstract painting. But Bastien’s
employed… unconventional professor taught him one lesson that
teaching methods. He would stuck. The art academic lay the
stand at the front, pick up a foundations of what the French
drawing or painting done by a student, illustrator would build into his
and destroy it. Not verbally. Not with “personal code.”
forthright critique. He would literally Bastien was born in Paris in 1982,
tear up the canvas. but his family moved to Auray in
Bastien Lecouffe Deharme was a Brittany when he was a boy. This was a
student at the University of Rennes. He small town in a poor region with few
didn’t learn much. The course had no jobs. There wasn’t much to do. But
time for the kind of illustration Bastien Bastien and his friends had the fields
and the forests. Breton myths and
Artist legends fascinated him – the many
PROFILE gods, the weird creatures. When he was

still very small, Bastien would scribble
Bastien Lecouffe Deharme over the pictures in his illustrated
LOCATION: US books. His parents felt he was trying to
FAVOURITE ARTISTS: Gerald Brom, John
Collier, Frank Frazetta, Gustav Klimt and participate in the image. There were
Sergio Toppi artists in the family. His great
MEDIA USED: Photoshop, oils, pencil, charcoal
grandparents were involved in the
WEB: www.roman-noir.com
Surrealist movement.
56 August 2019
BASTIEN LECOUFFE DEHARME
THE SMOKES
“A figure stands alone in the
Temple of Death. I painted this
scene using references of
life-model McKenzie.”
August 2019 57
Interview
© GODS
IMPERATOR
“Sevire La Rouge, Imperator
of Avhorae, who renames
the five provinces after the
names of her ravens.”
© GODS
Bastien got into “hard music”

and “dark role-playing games.” He
would draw his friends, his brother,
and characters and environments from
the games. He loved the art on the
NIGHT’S BLOOD
“This shows the direction I’m
cards of Magic: The Gathering. He taking in the development of
my role-playing game GODS.”
knew somebody had to draw those
images. But it never crossed his mind it
could be him. He started skipping
school. Bastien was in a band. They
I remember a night where I looked at
drank, took drugs, spent all night
wandering the streets. They got into
the image on the screen and made some
some “heavy and not legal stuff.” It was kind of untold contract with myself
escapism – like art, only much riskier.
“I see relationship between those taught us to not get attached to the Bastien started sending his work to
efforts to escape reality in dreams, work itself, but to value the process.” artists he liked. He hassled friends for
whether it’s with art or storytelling or After university, Bastien went to work feedback on new pieces. He broke up
world-building, and the amount of in a tobacco shop. He was in a “toxic” with his girlfriend and met someone
dangerous situations I put myself into. relationship. But, at night, he had his else. They moved to Paris together.
It was a mix of creative imagination art, working on a graphics tablet using There were other day jobs – making
and the need for real-life intensity.” the art program GIMP. He started to sandwiches, building hospital beds –
mix drawing and photographic but, slowly, steadily, his art took off. He
HIDDEN MEANING BEHIND THE ACT elements. Digital art was new. There found commissions. And soon, he got
Rennes is the capital of Brittany. was the excitement of developing weird jobs as a concept artist and an art
Bastien went to university there to give brushes. Something clicked. director. “Finally, I was there. I was
himself time to work out what to do “I remember a rainy night where making a living from my artwork.”
with his life. Plus, the parties were I stopped to look at the image on the
good. He completed his masters in screen and made some kind of untold NATURAL RHYTHM
2006. The thing that left the biggest contract with myself. The contract said Bastien and his American wife moved
impression was a lesson from the something like: ‘This is actually cool. to rural Ohio. It was a world away from
professor, the hidden meaning, the
THE CLIFF This is what I am going to do for the Paris, but the Appalachian Mountains
“This sketch takes
sensible philosophy behind the bizarre its inspirations from rest of my life! No failure tolerated.’ reminded him of Brittany. They bought
Greek tragedies and
act of tearing up student work: “He Lovecraftian myths.” Since that night, I’ve never stopped.“ a house surrounded by fields and
58 August 2019
MAGIC MESSAGE ON A BOTTLE

Bastien explains how a childhood dream came true, involving a train journey in France and a certain soft drink…
“When I think about the first time my

work was included in Spectrum – it
feels like it was yesterday. Spectrum
was one of those things that I didn’t
think I could ever reach. It’s truly odd
how our past goals can become our
future standards. I grew up as an
artist looking through the book,
amazed at every page, and today
I have my work published in it every
year. I even made the cover once.
Spectrum is important to me
because it’s recognition from my
fellow artists, and it’s a community
that welcomed me with open arms
when I moved to the US.
Six years ago, my wife and I were
visiting friends and family in France,
© Wizards of the Coast

taking the train from Paris to
Brittany. I bought a small bottle of
Coke. ‘Share a Coke with Jeremy’
LOYAL RETAINERS
“This was a cool card to
was written on it. I checked my work on. I paint staircases
in almost everything I do!”
emails, and there was an email from
Jeremy Jarvis, art director at
Wizards of the Coast, inviting me to syndrome, that good old ‘I-don’t- It was written in a language I couldn’t
join the team. This is one of those deserve-it’ demon. The next day, speak, but I was fascinated by the
moments when I looked over my I realised I was an idiot, and I artwork. I remember realising, as a
shoulder and saw the kid I was, messaged Jeremy back. He laughed kid, that some people were actually
smiling at me with pride. (I know he did) and he opened the making a living by drawing images.
For the sake of the story, let’s doors for me. I thought that Magic artists were
mention that I said ‘No.’ I had a very Magic: the Gathering is one of international rock stars.
full schedule at the time and I think a those dreams that came true. When It’s funny the way time and
part of me was worried I wouldn’t do I was a kid, a couple of friends were progress work together. Future
a good job. You know, the impostor importing their cards from England. dream goals that become past
achievements. I remember some
ASYLUM VISITOR clients I left behind. When I look
“This was done at the very back, I can see all the steps I climbed.
beginning of my career, when
I was painting vampires.”
I see all those objectives that
I wanted to attain so badly, which
became almost insignificant once
reached. From the path I took,
I gained confidence and wisdom.
I know that it’s all about taking care
of that original fire, the spark that
I had when I started, which must be
preserved with care and dedication.
I look at all those years only to
realise I did put myself exactly where
I wanted to be. I tell stories with
images and words. Through
commissioned works and personal
projects, I have the life that the little
passionate kid I was would have
never dared to hope for. And this is
also why I teach. To give what I can,

as others did for me. To transmit. To
tell my students exactly that: you
owe to the kid you were to become
the best artist you can be.”
August 2019 59
Interview
THE BLUE DOOR OF TAMETH
“One of the first visuals I created for
my upcoming dark fantasy tabletop
role-playing game, GODS. This one
is for the gamemaster screen.”
© GODS
forests, where coyotes howled at Bastien has his own photo studio.
night and fireflies lit up the sky. PRIS He arranges a shoot with a model and
“I created this piece for
He has two studios at home: one for the 30th anniversary of takes up to 500 pictures. The shoot
Blade Runner.”
painting, another for everything else. usually leads to ideas he hadn’t
On the wall of his main office is Frank thought of: a pose, an expression,
Frazetta’s painting Death Dealer and a some new composition. He
portrait he drew of his wife when they “Frankensteins together” photographs
met in Paris. They remind Bastien why to create the perfect reference. This
he does what he does. reference is on one monitor while he
Bastien likes to wake up at noon and draws it on a second monitor in
work all night. He used to feel guilty Photoshop with an Intuos Pro.
about it. Now he accepts going to bed
at 5am as his “natural rhythm.” During CREATIVE PROCESS
the day, he teaches, exercises, looks Bastien starts with shapes, blocks, adds
after the land around the house. He detail, definition, then polishes. He’s
eats dinner with his wife. “Then I step not the fastest. He prefers to take his
into the night. Making images run.” time, slowly adding complexity. He
builds environments around the figure
TWIN APPROACH and blends them together using values,
There are two strands to his work: lighting, colour-work. He drops in
commercial and personal. He works textures and photographs, using masks
with clients like Random House, and layers to make sure these elements
National Geographic, and regularly only affect targeted areas. When the
with Magic: The Gathering, and he work’s going good, it’s like the image is
creates his own graphic novels and making itself – a “sort of digital
RPGs (Memories of Retrocity and alchemy.” But underpinning this magic
GODS). But, these days, the two is a sound knowledge of the
strands interact in interesting ways. fundamentals such as composition,
Bastien’s art is usually a “weird perspective, anatomy and colour.
composite” that mixes traditional “Those fundamentals are like a
and experimental techniques. frame that keeps everything in the
Composition is his big thing, so he right place during a process that tends
uses thumbnails to organise space, to be a bit crazy. A structure that allows
values, how the image will be read. me to have fun and experiment
There’s usually a story he want to tell. When the work’s going without turning everything I do into
The challenge is working out the best
way to tell it in a single image. This
good, it’s like the image is some kind of weird digital Pollock.
I love digital art for this exact reason:
means he’s also working out “narrative
hierarchy”: who will be the main focus
making itself – a ‘sort of the possibilities it offers.”
Bastien always has new things to say
of the piece, and why. digital alchemy’ in his work. He makes sure of it.
60 August 2019
KHALISTAN
“This is a portrait of the people of Khalistan
who live in the Wildlands, from my
role-playing game GODS.”
© GODS
August 2019 61
Interview
HUMAN AND MACHINE

Bastien reveals how he used a life-model study as the basis for a
bleak futuristic scene from his graphic novel, Memories of Retrocity
2 TUNING THE MOOD

“Painting from a life-drawing session,
I establish the composition. Next,
I alternate between building up the
mood and bringing in details. I paint,
paste things together, mix brush
strokes and photo textures, while
making full use of Photoshop’s
adjustment tools to fine-tune the
mood of the scene. I keep an eye on
positive and negative space to make
sure that every important element of
the image is easily readable.”
1 NOT REALLY HERE

“This image is about the relationship between the human and the machine, in a quiet moment
when the human who received some mechanical surgery awakes in a world that she barely
recognises. The overall composition suggest a lack of stability, and offers nowhere for the
character to go. She’s looking past us; she’s not really here any more.”
62 August 2019
3 INTENTIONAL
ACCIDENTS
“One of the truly essential aspects of
that process is that I intentionally
create accidents. I drop in random
elements (bits and pieces of
photographs, scans of textures,
brushes, and so on) over the image
and play with the layer modes to see
if anything interacts with the image in
interesting ways. If something does
then I tune it further and integrate it
into the painting process.”
4 CONTROLLING THE CHAOS 5 FINISHING UP

“I often use masks to control chaos, and to make sure my “During the final stages I turn up
random mark-making on elements of the image affect the music, turn down the lights and
only specific areas, which are separated in layers. I let the paint for a further couple of hours.
work drive itself, and this is when I truly enjoy painting. I add corrections and make final
Most of the time my commissioned work is very specific adjustments. Then I try to get
and doesn’t allow as much creative freedom, but I still try some sleep. I let my image sleep as
to imply a healthy dose of this random approach, because well: I look at it with fresh eyes a
this experimental aspect is a key part of my art’s identity.” couple of days later.”
August 2019 63
Interview

STUDY
“This is a portrait of a model
called Jasmine. I was using
traditional media to experiment
with new techniques.”
The artist reads a lot. He listens SENTINEL OF THE

to Nick Cave & the Bad Seeds, ETERNAL WATCH
16 Horsepower, doom metal. He likes “The first artwork that
I created for Magic: the
the films of Fellini, Kurosawa, Sergio Gathering, back in 2014.”
Leone. It’s like food, nourishment: “I
see a direct link between what people
feed on and what comes out of them.
I try to eat well, to not get sick.”
Bastien, the reluctant student, is
now a professor at Shawnee State
University, Ohio. He teaches
something called the “personal code.”
The images I make are a place where
It’s a more fleshed-out, but much
less extreme version of the university
my visions meet with our reality. They
professor’s philosophy. The personal interact thematically and technically
code is a formula – the formula –
that makes you, you. and our work unique. Creating new knows that. But this “awareness of
Your personal code is made up of all art is partly determined by the process death” should be seen as a good thing.
your life experiences and all your of identifying our references, “I live fully because I know life ends.
influences. You are all places you’ve acknowledging what makes us, and And it shows in my work… the
been and all the things you’ve learning how to manipulate those to realism, the mix of drawing, painting.
done. But you’re also the artists make something out of it.” and photographic elements is my way
you like, the books you read, the Bastien’s own work is to insist on the crudity of our flesh, our
music you listen to, the movies you characterised by an “obsession body, ourselves, our existences.”
watch. Bastien teaches students to with anatomy, curves, flesh and The artist continues: “The images
accept these influence and honour bones.” Weapons to represent I make are a place where my visions
them, rather than trying to deny them tough decisions subjects need to meet with our reality. They interact
“for the sake of illusionary uniqueness make. Birds seem to come and go as thematically and technically. Behind
or originality.” they please – symbols of life. Each every images there are also people
image is a sort of self-portrait, even I know well. From the models I work
GOING BEYOND REFERENCES when he and his subject look nothing with, to the symbols I use, and the
Yet here’s the paradox, as explained by alike. He paints what he admires, way I connect them together to build
the artist: “This accumulation of
THE SISTER desires fears. His work is dark because a visual story, there’s an alchemy
“This is a pencil portrait
references constitutes a different code of La Fée Morgane, we’re all heading for darkness. This happening that I discover during the
from the Arthurian
for each of us and therefore makes us tales of legend.” sounds completely miserable. Bastien art-making process itself.”
64 August 2019
LE MÉPRIS
“I created for this for

Memories of Retrocity,
my graphic novel.”
MINISTRANT OF
OBLIGATION
ETRATA, THE SILENCER “I applied halos of
bright light here and
“This piece was nominated for
a Spectrum award this year.” there, to make sure the
gold would shine.”
August 2019 65
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you can watch the artist in action, too.
Advice from the world’s best artists

68 74
82 This issue:
68 Mix traditional
and digital tools
There are many ways to use
traditional techniques to
enhance your digital artwork,
as Chantal Horeis explains.
74 Use text tools

in Procreate
Animation art director Max
Ulichney designs a picture book
cover while making full use of
Procreate’s new text tools.
82 Bring a fantasy
character to life
Fatemeh Haghnejad quickly
sketches a young faun on
paper, before using Procreate
to further develop the idea.
August 2019 67
There are many ways to use traditional techniques to enhance your
digital artwork. Chantal Horeis goes through her favoured approach
I love the tactile and custom textures and scanned-in traditional stages I’m going to use
Artist
sometimes random papers. Different textures can be a lot graphite and ink on paper, but you
PROFILE textures that occur of fun to play around with: they give don’t have to follow my lead. Just use
Chantal Horeis when working with your artwork a lovely finish. your favourite traditional medium
LOCATION: Sweden traditional tools. Furthermore, this approach enables and play around with the effects you
Chantal is a freelance I’m also fascinated by the endless you to describe surface textures of can create with it. This is really about
artist living in Sweden. possibilities that digital workflows specific elements in your artwork, or finding the most enjoyable process
When she’s not drawing
she enjoys cooking
have to offer, so I never want to emphasise certain shapes and objects for you. The following steps are
and caring for her choose one over the other. in your image, making them stand transferable to graphite, watercolours,
plant collection. A couple of years ago I started to out within the composition. oils… you name it! I would love this
www.chantalhoreis.com
experiment with different In this workshop I’m going to workshop to provide technical
GET YOUR approaches to drawing and painting. show you the process behind one guidance, but also inspire you to
RESOURCES
See page 8 now!
I began creating traditional-digital
hybrids and refined my process using
of my illustrations, and explain how
I create and preserve textures. For the
experiment with different tools to
create your unique painting process.
Digitally sketching out the idea

1
When beginning a new illustration I usually start with a simple sketch that captures the main idea of the artwork, just to check whether it
has potential. I do this digitally, because I can make any changes in just a few seconds. Once I’m happy that my idea is worth developing I create a
more refined sketch that provides greater details and presents an appealing composition.
68 August 2019
In depth Mixed media
August 2019 69
Workshops
Enhancing the traditional drawing

3 Next I refine the paper drawing. I add several layers
Transferring the drawing to paper with different pencils, going from hard to soft, so from
2 Since I don’t own a lightbox I stick a piece of paper to my screen and trace my light to dark. I hatch some areas very lightly to create
sketch on to it. I use a very hard pencil and make very soft and delicate lines. They textures, but go darker into other areas to create variety.
don’t have to be perfect, but rather create the right spacing between elements. I want After that I pick up my ink pens to trace some of the lines
to get this foundation stage right so I do not have to worry about it later. with ink, which creates an even wider value range.
Scanning and preparing

4 the drawing
I want to preserve the traditional drawing
in my digital workflow as much as
possible. I’ve developed a process for
‘lifting’ the drawing from its background.
It enables me to colour in the line work
later and work underneath the drawing as
well as on top of it. I can even use a
clipping mask to colour parts of the line
work in different colours. First I select all
and copy the drawing. Then I go the
Channels dialog and create an Alpha
channel. I paste in my drawing and then
invert it. Next, I create a new layer and
Ctrl+click the layer thumbnail to select the
linework. Then I fill the selection with a
colour, deselect it and then put a white
layer underneath.
70 August 2019
Selection of the drawing

coloured with a fill layer
Adjustment layers
Bringing in basic colours

5 Having this cut-out version of the traditional drawing means I can fill in the basic shapes of my image underneath the drawing, without
affecting the original line work with Multiply layers on top. I use fill layers for this, so that I can change the colours and find something that I like.
RESOURCES
PHOTOSHOP
Drawing is CUSTOM BRUSHES:
duplicated BASIC
to make it
stronger in the eye
area using a mask
I use this brush for most
of my work, to fill in
shapes and outlining.
STARS
This brush is ideal for

creating star patterns
or noise textures.
SOFT
Colouring the traditional drawing

6 Because the drawing is separated from its background I can change the colour of the lines very easily. I apply a fill
With this brush I paint
soft colour overlays to
layer on the drawing selection as well and used a saturated darker red-orange. It looks more vivid and complements the create more vibrancy
throughout the image.
underlying colours. It’s interesting to see what effect different colours for the line work have on your image.
August 2019 71
Workshops
The left colour is mapped to

my dark values, the right
one to light values. Then
I create a gradient
Adding colour variations to the skin

8 I like to add some vibrancy to the skin of my
Applying colour effects characters. To do that I create a new fill layer in Overlay
7I try to go as far as possible without painting on my drawing, instead adding mode. With a soft brush and reduced Opacity I paint
colour effects in different areas. For example, applying a gradient map to the hair. It some colour on the cheeks, nose, lips, ears and shoulders.
maps a colour gradient to the value range of your image. This way I can make the This makes these areas look more alive, while still letting
dark lines lighter and the fill space darker. I then use a mask to define the shape. the original drawing shine through.
Still a bit too

bright, so I adjust
the brightness
to match the
Creating more traditional textures underlying
9 Over the years I’ve built up my own little library of image.
traditional textures. There are an easy and effective way to
add more visual interest to your work digitally later on. I
try to be more experimental, and use graphite powder 10 Placing textures over key areas
I scan the textures at a very high resolution (1,200dpi), just as I did with the
and my erasers for a softer texture that I want to apply to drawing previously, and drag them on top of my artwork. I set them to Overlay and
the skin. I also create an ink texture by drawing small adjust the brightness so that it doesn’t brighten the image underneath. Then I place
repeated lines all over the page. the textures where I want them and use a mask to limit the textures to specific areas.
72 August 2019
Introducing translucent horns

11 Although I don’t like to add elements later on in the
process I really wanted to graft these translucent horns on 12 Enhancing the background with a pattern
To create an even more textural feel to my image I decided to put a flowing,
to her head. I use a couple of layers to work out the ornament-like pattern to the background. I keep it very light and delicate, because
translucency layering and play with the Opacity setting. I don’t want to create too much contrast here. I place the pattern on a low Opacity
The horns create a bit of a contrast in the composition Overlay layer, which enables the underlying texture to shine through. I create this
because they don’t have a lot of texture to them. element so that it directs the viewer to the face, and supports the overall visual flow.
13 Further detailing
I carefully use Overlay, Multiply and Normal layers
to add more details to the image, trying to match the
traditional texture feel. I apply more freckles to the skin, 14 Finishing touches with a noisy texture
I take a scanned-in paper texture and add tiny stars with a custom star brush. I
refine the eyes a little more and add a few more flowing use this texture a lot recently to create a finish for may artworks. I put it on top of my
strands of hair. I check the outlines of my drawing and image and make it black and white. I then duplicate it several times and fill the
add some where necessary. It’s important for me to make entire image with it. Finally, I set the layer to Overlay and adjust the Opacity to give
these changes look as natural as possible. the image a pleasing finished look.
August 2019 73
Workshops
Procreate
USE TEXT TOOLS
IN PROCREATE
Animation art director Max Ulichney tells us a story and designs a
picture book cover while making full use of Procreate’s new text tools
For those of us in a coffee shop, at the park or on the service of a hypothetical picture book
Artist
creative field, it can be sofa puts me in a different mindset about a boy and his new friend.
PROFILE hard to come home than sitting at a desk. Procreate’s I wanted to focus on the feeling of
Max Ulichney and fit in time for our streamlined interface has encouraged boundless possibilities and fantasy
LOCATION: US own pursuits. For me, me to paint more intuitively and less we had as kids. I settled on a story in
Max is an animation art Procreate was a huge help to get me technically. So I was very excited which all the characters in this story
director and director. painting for fun again. when I saw the new text tools are naively excited about this
His MaxPacks Procreate
brushes are used
In fact, I do most of my personal included in the latest release. And amazing “dog” that Danny has
worldwide by work on my iPad in Procreate these sure enough, they are true to form found. So with that, I saw the chance
professionals and days. It feels less like work and more and very approachable. to show off Danny’s gloating pride,
beginners alike.
www.maxulichney.com
like sketching did when I was young. I took the opportunity to put these his classmate’s tentative caution and
Something about sketching in a new features through their paces in her dog’s utter excitement.
GET YOUR
RESOURCES
See page 8 now!
RESOURCES
PROCREATE
CUSTOM BRUSHES:
MAXU 600 SERIES
PENCIL
Used to create a rich

pencil sketch. Try using
it with the Tilt action.
MAXU GOUACHE
GRAINY
Capable of laying down

both clean flats and
controllable shading.
MAXU SMUDGE
GOUACHE GRAINY
Adjust the type setting
Developing the rough layout 2 Click the Wrench icon to add text. In the Add tab,
1 I begin with a rough sketch and then set the type click Add text to create a text box. In my case, when I’m
Made to be used with the right away, so that I can establish my composition and done typing I click the blue Edit Style button. I drag the
Smudge tool. Built to be
paired with MaxU
work out any trouble areas early rather than fight them text box to fit the width of my image, and set my
Gouache Grainy for later on. This way I can work the tight pencils around the justification to centred to more easily line up my title. I set
softening shading and title and avoid tangents, overlap Danny’s hair and have a my font to Avenir Next (bold), and adjust my size,
adding texture.
sense for what my negative spaces will look like. tracking, leading and kerning to create a chunky title.
74 August 2019
In depth Procreate text tools
August 2019 75
Workshops
Create the line work for the cover illustration

3I’ve created a new pencil just for this workshop which I’ll be using to lay down the line work for the scene, called the MaxU 600 Series
Pencil. It’s inspired by the iconic Blackwing 602 pencil. I erase with the same pencil brush as needed.
76 August 2019
Tint the sketch

4 As I finish, I alpha lock the sketch layers by two-
finger swiping right on the layer until I see the
background of the thumbnail turn into a checkerboard to Flatting the figures
indicate that it worked. I could also have tapped the layer 5 Below the sketch layers, I start flatting my characters. I begin with the bear
to pull up the Layer settings palette and selected it from because he’s the most dominant figure, and his fur will help me establish how
there. I paint my lines a soft red to mimic a Vermillion loose or tight my silhouettes will be. I’m painting this with my new MaxU Gouache
Prismacolor Col-Erase pencil that I use in my sketchbook. Grainy brush that I made for this workshop. The brush responds well to soft
I set the sketch layers to Multiply and group them. pressure for shading and soft falloff on the edges of the fur.
Painting the features of the children

6 This stage helps me to define the level of detail of rendering that I want to apply, going forward. The first thing that I detail are the kids’
faces and hair. I paint Danny’s sunglasses on their own layer set to Multiply.
August 2019 77
Workshops
Defining the bear through shading

8 It’s important that I start my shading with the bear, because while the kids are
well defined by their flat colour, the bear will be defined almost entirely by shading.
Local colour and clothing I pick a soft lavender colour and fill a new layer by dragging from the Color Picker at
7 I paint the clothing on layers clipping-masked to the the top right of the interface into the canvas. I clip this layer on to the bear, set it to
flat layers. To make a clipping mask, make sure your Multiply, then add a mask to the layer by tapping once on the layer and selecting
desired layer is on top of the layer you want to clip it to. Mask. Next, I tap the new mask layer and invert the mask to make it black. Now
Tap the top layer and select Clipping Mask from the I can paint white or shades of grey, and blend transitions using my MaxU Gouache
menu. Now when you paint you’ll only see paint where Smudge Grainy in this mask layer to paint shadows where I want them. The benefit
the layer on the bottom is opaque. Because I know that I’ll of this technique is that I can duplicate this shadow layer for the other characters
want to dial in these colours a bit later on, I’m keeping and only replace the mask. I don’t intend for this shading to be the finished product,
things separated and will flatten my layers later. but it forms a good base to paint more sophisticated detail on later.
A spot of graphic design

9 The colour palette is coming together now, but I know that I want to define a
rim light from behind Danny and the bear later on, so I need to darken the
background slightly to allow me some room to go brighter than that. I make my
background a light blue to help balance all of that brown, and set the type to a dark 10 Adding sky lighting
I need to break up the colours, so I fill a layer with a
blue and a bright red. To change the type colours, select Edit Text when you click the sky blue colour and give it an inverted mask, similar to
text layer. The colour of the Color Picker on the top right will change the colour of the shadow layers but this time set to Color rather than
the text. The dark blue helps give me contrast so that I can more confidently paint Multiply, with low Opacity. I paint this mainly on top-
darker shadow colours in the next step. facing surfaces and to break up the fur.
78 August 2019
Further detailing
11 Finally, on a new layer over the line group, I begin
cleaning up transitions in the shading, paint deeper
shadows in the bear’s fur, define his face and eyes better, 12 Paint in some rim lighting
As we wrap up, the last element is a strong rim light to help to frame Danny
and generally add nuance to the piece. and his bear. This lends them a triumphant mood.
13 Colour correcting the piece

I want to bring greater harmony to my colours. At
the top of the layers I fill a layer with a soft light yellow set
to Multiply, to warm up my highlights. Above this I fill a
layer with a dark blue and set it to Screen. I also add a
layer of grain on top by making a 50 per cent grey Overlay
layer. I add Adjustments>Noise, and apply a few pixels of
Gaussian Blur. The result is subtle, but it adds a sense of
atmosphere and light that makes all the difference.
August 2019 79
Next month
Russian art star
Aleksey Baydakov
creates our cover
art and reveals all
in a workshop!
80 August 2019
Next month
Character design
masterclass!
Next issue, get ready to rip up the rule book
on concepting and creating characters!
All this… and more!

Unmissable tips Eliza Ivanova Cinematic Fineliner and
on character art interview keyframes brush pen skills
The brilliant Serge We explore the How to concept Artem Solop takes
Birault unleashes ethereal personal and generate art you through his
his character art works from this for film with process of creating
design manifesto! Pixar animator. Ivan Khomenko. unique art.
ISSUE 177 ON SALE IN THE UK Friday 12 July 2019

August 2019 81
Fatemeh Haghnejad quickly sketches a young faun on paper, before
using Procreate to develop the idea and give it a traditional media look
In this workshop I’m I want to show you how I’m able to I want to do. I love to see my
Artist
going to give you an create artwork that could be used in a characters come to life in their own
PROFILE overview of my children’s book, for example. world. For this illustration I’ve
Fatemeh creative process, from ImagineFX has kindly given me decided to draw a sweet faun boy
Haghnejad coming up with an the freedom to choose the subject for spending his afternoon making dolls
LOCATION: Norway
initial idea, all the tools I use in this workshop. The first thing that that he can bring to life with his
Fatemeh, also known as Procreate, and how they can help I do is close my eyes, and let myself breath. With this idea in mind, I pick
BlueBirdy, is a freelance speed up the illustration process. go to where I want to be and what up my pencil and start sketching…
illustrator and character
designer working on
children’s books, young
adults novels… and on a
secret project with her
husband and fellow artist
Even Mehl Amundsen.
www.bluebirdy.net
GET YOUR
RESOURCES
See page 8 now!
PROCREATE
DEFAULT BRUSHES:
STUCCO
I use this brush for

adding texture
throughout the artwork.
Take your small ideas seriously
NARINDER PENCIL
1 If it’s a portfolio piece and you’re free to choose
a subject, then even throwaway ideas are worth
considering. For both personal and commissioned pieces,
This brush is perfect for
helping me to get the I start by listing the things I need to see in my image. This
initial line work down. is because I can easily become distracted when I start a
POLYGONS
painting, and end up either drawing something else or
miss out the key points in the original idea. Furthermore,
it helps me to pare back the story that I want to tell with
my illustrations. Here are the words that I write down for Let’s feel the character
For smudging certain my idea: faun boy, about 10 years old, warm colours, 2 Once I’ve chosen a design, I start sketching on paper
areas of my art, this afternoon, wooden toys, mushrooms. I make these quick using a red pencil. I think that the lines come easier and
brush is very handy.
digital sketches to visualise my ideas. more naturally if I use a real pencil.
82 August 2019
In depth Fantasy character
August 2019 83
Workshops
Initial detailing
4 I create a second layer and pay more attention to my
Switching to Procreate details while avoiding putting down unnecessary lines.
3 I usually ink the line art before scanning it into either Procreate or Photoshop, My go-to Procreate brush for this stage is the Narinder
because this will give me clean lines to work with. However, there’s no scanner in pencil. I put my efforts into showing the faun’s level of
the log cabin that I’m staying in at the moment, so I decide to transfer the traditional concentration and the pressure in his fingers as he grips
sketch into Procreate and create the line art digitally. Thinking laterally, the wooden toy. I also make his work area look more
I take a photo of my sketch and open it in Procreate. Then I reduce the Opacity of interesting by adding wood shavings and a friendly bird.
the sketch and trace over it, making a clean drawing on a new layer. The first I keep the background line art on a separate layer because
drawing that I made of the faun wasn’t quite right; he was a little chubby and messy. I’m not sure if I want to have a background yet.
Starting on the colours

5 I’ll keep the line art layer on top for almost the whole of my painting process. Next, I open a new layer and colour the silhouette of my
characters. To create a simple coloured background I select the silhouette layer and invert it, before filling it with my chosen colour.
84 August 2019
Solve the mystery of light and shade

7 I’ve worked out a method that enables me to easily light an object or figure,
which I’d love to share with you. I make the form of my character using Super
Sculpey (a clay that doesn’t get dry out), then photograph it under different lighting
conditions, such as bright sunlight, indoor lights or candle light. I also use the light
Laying down base colours of my iPad or different colours created using my phone screen. Because so much of
6 I create a new layer for each coloured element. my work is from the imagination, it’s great to know that I can control environmental
They’re all Clipping Masks attached to the silhouette layer. elements within each piece, such as the lighting. As long as you remain consistent
This approach helps me to add the shading and also with your choices you can achieve anything! I also find it helpful to draw the
makes it easier to select certain areas for colouring. direction of different light sources using arrows on their own layer.
Decide on the type and direction of the light

8 I almost have the base colours in place, and have decided that the scene will feature natural daylight under a treetop canopy. Next, I work
out where the sun is located and where I can add reflection. Now that I’ve chosen the direction of light, I use a medium Hard brush to add all the
shadows on a Multiple layer. I paint the shadows with a light grey-yellowish colour, sometimes going either a little darker or a little lighter. I also
use different tones such as blue and purple, for variation. On the same layer I add blue shadows from the canopy light and a yellow-green lighter
shadow down the left-hand side of the piece, which is reflected from the greenery around the young faun.
August 2019 85
Workshops
Introducing colour tones

9 Once I feel that I’m almost done with the shadows,
(although I usually need to revisit this layer a few times to
fix things), I go back to specific object layers such as the 10 Enhancing the sunlight
I chose a Screen layer for the sunlight, and paint with different colours such as
hair or skin and add some colour tones. purple and orange, which helps to generate different, interesting shades of light.
Altering the colour of the line art

11 Now I want to change the colour of my line art, to make the appearance of the
lines closer to the colours around them. I alpha-lock the line art layer and make my
changes: for example, I lighten the lines that describe the faun’s hair.
86 August 2019
12 Background tweaks and pushing the traditional painting look

I change the background colour using the Color Balance tool to make the character stand out more. Then I add a texture under my
background layer and then set this to Multiply (the texture layer can be any texture that you like – I found this one by doing a quick search
online). Next, I add some branches and a tree in the background, although I’m not entirely happy with the result so I decide to keep the texture
layer and the blue background layer, which is on a darker Color layer. It adds a traditional look to my painting, which I really like.
13 Rendering and solving some

light and shadow problems
Although I’ve finished working in layers, my illustration
isn’t done yet. To do the rendering I usually copy my
entire canvas, paste it all on to one layer on top of
everything and paint over the whole thing in a Normal
layer. I can use the layers below to quickly select edges for 14 Putting in the finishing touches
At this point I’m happy that everything is in the right place and I can start
and work on them cleanly on my new layer. I work across noodling away. I add more texture with the Stucco brush, and paint in some details
the composition to pull the whole image together. such as plants in the background and hair strands. Now my faun is finished!
August 2019 87
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88 August 2019
Artist’s
Choice Award
Art resources with a five-star
rating receives the ImagineFX
Artist’s Choice award!
The latest art resources are put to

the test by the ImagineFX team…
PRODUCT
5
ON TEST S
HARDWARE
90 Artist 15.6 Pro
A budget tablet that come complete with
tilt, pressure sensitivity and a battery-free
stylus – we find out if XP-Pen’s device can
unseat Wacom’s Cintiq 16.
TRAINING
95 The Anatomy of Style:
The 3/4 Head Parts 1 & 2
Patrick J Jones explores everything from
basic drawing principles to the meaning
of art in his wide-ranging tutorial. 97 David Lynch:
Someone Is In My House
BOOKS Uncover the artistic portfolio of the
96 The Art and celebrated American filmmaker.
Making of Aladdin
Return to the bustling city of Agrabah 97 Gustav Klimt: Landscapes
with this behind-the-scenes look at Famed for his striking portrait works, this
Disney’s live-action adaptation of its collection of landscape paintings from the
stone-cold classic animation. Austrian artist is sure to broaden the mind.
RATINGS EXPLAINED Magnificent Great Good Poor Atrocious
August 2019 89
Reviews
Removable and replaceable

film covers help to minimise
screen glare when working
directly under a light source.
Artist 15.6 Pro

AIMING HIGH XP-Pen wants to sit at the top table, next to Apple and
to avoid your artwork’s colours looking
inaccurate if you print it. You can ramp
up the brightness of the Artist 15.6 Pro
screen and turn it down just as easily,
thanks to handy buttons on the side
Wacom. Should the budget tablet manufacturer be given a menu? of the tablet.
Price £370 Company XP-Pen Web www.xp-pen.com REDUCTION IN PARALLAX

The screen’s surface is laminated and
he big question with any from dethroning its competitors. bonded. This reduces the parallax
T new graphics tablet is ‘how

does it compare to the
current market?’ Every new
However, the price point/quality level
trade-off will be good enough to sway
some artists, depending on their
effect to low levels – very similar to
those of the Cintiq. Yes, it’s noticeable,
but you’ll soon become accustomed to
contender can boast improved particular requirements. it during your painting sessions.
features and specs, but ultimately The Artist 15.6 Pro has an active The pre-applied and replaceable
what we want to know is how it drawing area of 15.6 inches diagonally, film cover’s anti-glare properties
stands up against the big guns – which gives it a full HD resolution of reduce reflections considerably.
Wacom and Apple in this instance. 1,920x1,080. The display has an However, the trade-off is that the
With its lightweight screen and impressive gamut of 84 per cent of tablet surface is slippery, feeling more
pressure and tilt-sensitive, battery-free Adobe RGB. That’s higher than the like a smartphone’s screen than paper
pen, the XP-Pen Artist 15.6 Pro is Cintiq 16, which has a gamut of around (the screen, sans film, lacks any tooth).
arguably the best non-Wacom/Apple 75 per cent RGB. However, the colour The Artist 15.6 Pro comes with a free
competitor so far. But it does have accuracy, while good, isn’t perfect and anti-fouling glove to minimise marks
certain limitations that hold it back so you’ll need to use a colour calibrator being generated accidentally.
90 August 2019
Art tools Hardware
line lag, which makes drawing smooth

lines trickier. Again, these aren’t
enormous drawbacks for some
people, but busy artists and/or
perfectionists will be frustrated having
to correct brushstrokes repeatedly.
The stylus comes with a hefty
plastic pen holder that houses eight
replacement nibs and will definitely
keep your stylus safe while travelling,
while the holder opens to become a
pen stand. There’s no way of attaching
the stand to your tablet, though.
At the time of writing, the XP-Pen
Artist 15.6 Pro is available for a very
reasonable £370, making it cheaper
There are eight

built-in shortcut
keys down the side
of the tablet
than the Cintiq 16, currently £515, and
considerably cheaper than the latest
iPad Pro, which starts at £769 for
the 11-inch display, plus £119 for
the second-generation Apple Pencil.
Considering that the Artist 15.6 Pro
comes with a built-in stand,
replaceable screen covers, an anti-
fouling glove and a considerable
number of spare nibs – all of which
would cost extra with a Cintiq – the
price is an attractive selling point.
The supplied anti-fouling glove will help
to improve the drawing experience
when using the Artist 15.6 Pro.
POWER OPTIONS
The tablet’s USB connection cable
enables you to both connect the
display and draw power with the same
cable. You don’t need to attach it to an
AC adaptor. It can even be run from an
Don’t want to rest the external power bank, which adds to its
Artist 15.6 Pro on your
lap? No problem – just portability. Durability-wise the Artist
use the included stand. 15.6 feels lighter than the Cintiq 16,
which is a plus, but it also feels
slightly less durable than Wacom’s
device. Heavy-handed artists may
find that the screen distorts both
when pressing down on the
The stylus is battery-free and boasts expect to produce light brushstrokes. screen and on the edges if you’re near
8,192 levels of pressure sensitivity, as Even if you experiment with the them, but the majority of people will
well as 60 degrees of tilt functionality. Pressure Curve settings, it doesn’t feel be fine. The tablet runs silently.
There are some caveats here. The tilt as natural and fluid as the Cintiq 16. There are eight built-in shortcut keys
function doesn’t feel as sensitive as the This may not be a deal-breaker to all positioned down the side of the tablet,
Cintiq’s Pro Pen 2, and when it’s tilted artists; it depends on your drawing alongside the new red dial, which can
the alignment of the cursor goes and painting techniques and style. But be programmed to zoom in and out,
askew, frustratingly offsetting the if you want consistent line width or alter brush sizes and so on. The Artist
cursor from the nib of the stylus. smooth transitions between low and 15.6 Pro also comes with a stand that
The pressure sensitivity feels a little high opacity, it can become grating. provides a similar angle to the Cintiq
unresponsive too, with more initial Similarly, there’s a noticeable 16’s foldout legs. The stand works, but
activation force required than you’d amount of line jitter present, as well as the plastic feels slightly flimsy and
August 2019 91
Reviews
IN FOCUS
ALTERNA
NATIVE
TABLETS
TA
A snapshot of three screen
drawing tablets to suit all budgets
Kamvas Pro 13
Web www.huiontablet.com
Price £269
rather than attaching to the Furthermore, drawing and painting The stylus features
8,192 levels of pressure
tablet, it simply rests on it. We with it will feel slightly off to artists sensitivity, and comes
leant down too heavily on the who work spend a lot of time with eight replaceable
nibs that can be stored
screen once, and it did tip working with finer details. in a study container. A good-quality, cheap display
sideways, but that was a one-off. XP-Pen’s device is the best screen tablet that’s let down by an
There are no mounting holes for tablet alternative to the Cintiq 16, if unreliable pen when it comes to
mounting to a stand or a VESA mount. your budget is tight. It offers a good- line jitter. Its power button sits
quality screen, with low parallax, useful next to the shortcut keys, so you’ll
LIGHTWEIGHT AND COMPACT shortcut keys and limited tilt have to be careful that you don’t
Even taking the criticisms mentioned functionality. However, when turn it off while painting!
into account, the Artist 15.6 Pro is a comparing its colour accuracy, overall
great bit of kit. It’s conveniently sized, build quality, feel of the surface and iPad Pro 11-inch
and so lightweight that it’s very line drawing quality to Wacom’s Web www.apple.com
Price £769
Artist 15.6 Pro is superb value for
money, and is a great starter tablet for
hobbyists, students and junior artists
portable and easy to set up, even offering, the Artist 15.6 Pro falls short.
when working on a narrow desk. If you don’t want to make these
The price/quality ratio is brilliant, sacrifices, you’re better off spending If you’re not just after something
too. Long gone are the days where the extra £145 on the Cintiq 16. to hook up to a computer to draw
only professionals could justify paying Speaking of money, the price on, but a whole system, the iPad
for a decent quality screen tablet. The difference between the Artist 15.6 Pro Pro is a lovely, albeit expensive,
Artist 15.6 Pro is superb value for and the iPad Pro is huge. If all you want all-in-one solution. You’ll need to
money, and is a great introductory is a display tablet, this is a sensible way buy an Apple Pencil to make the
tablet for hobbyists, students and to save money. And if you needed any most of its painting capabilities.
junior artists. more convincing, we expect the iPad
Features
But while the Artist 15.6 Pro has a lot Pro to be rendered technologically Q1,920x1080 pixels,
Cintiq 16
of strengths, it’s hard not to overlook obsolete years before XP-Pen’s device full HD
Web www.wacom.com
QDisplay colour
the lack of sensitivity with the stylus. is put out to pasture. gamut: 88 per cent Price £515
NTSC; 120 per cent
sRGB
Q5,080 LPI (lines per
inch) resolution
Q8,192 levels of
pen pressure
QHDMI and USB ports
QSize:
443x280x 12.6mm
QActive area:
344.16x193.59mm
Q 11mm thick
Q4.56kg
The gold standard for a budget
System display tablet. It’s on the pricier
Requirements
PC: Windows 10/8/7
end of the scale, but the quality
(32- or 64-bit) and performance of the Cintiq is
Mac: OS X version
10.10 or later superb. It supports all desktop
The device connects to
your computer and is painting programs and comes
Rating
powered by just one cable, colour-calibrated out of the box.
reducing desktop clutter. +++
92 August 2019
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Ava i l a b l e f ro m w w w. my favo u r i te m a g a zi n e s . co . u k / M AC s u b s
Inspiration Training
The heads are rendered

in sanguine (otherwise
known as red chalk or
pastel), with erasers
and stumps on hand
to work back into
the drawings.
In his video, Patrick

Patrick J Jones uses detailed shows how to construct
study sheets to set out the basic angled heads while
principles of head anatomy. exploring the broader
meaning of being
an artist.
The Anatomy of Style:

The 3/4 Head Parts 1 & 2
HEAD MASTER Artist and painter Patrick J Jones explores everything from
basic drawing principles to the meaning of art in a wide-ranging tutorial
Publisher Patrick J Jones Price AUD $32 Format Download Web www.pjartworks.com/shop
tructurally speaking, The 3/4 By this point, Patrick has already
S Head is one of the simplest

training videos you’ll see.
Patrick J Jones gets his
shown how he puts together anatomy
study sheets that he can refer to while
he crafts his full drawing (he explains
ARTIST PROFILE
PATRICK J
pencil out, then talks while he draws in Part 2 why working from JONES
some heads. But don’t be fooled: photography is risky). Labels and
this is a tutorial that goes deep – arrows help to explain the various Belfast-born Patrick became
not only into its stated subject of planes and forms that underpin the inspired to take up art by the
head anatomy, but also into what it anatomy of the head. He’s also work of Boris Vallejo and Frank
means to be an artist. commenced the first of a couple of Frazetta, and moved to London
The moment where Patrick brings beguiling studies in sanguine, the – the first step on a path that
out his kneadable eraser to work over traditional name for distinctive red would see him travel the world as
his developing drawing epitomises chalk or pastel. You’ll see the blending an illustrator. He’s painted book
the range of his teaching. The techniques he employs, including covers for a range of authors, and
illustrator talks about using the eraser working with paper stumps and that has created concept art for films.
not as a tool to wipe out mistakes Topics covered eraser, that give his drawings such a Now living in Australia, Patrick’s
QHead anatomy
(which is how most of us think of it) QStudy sheets
painterly quality, and his gestural also written several books on
but as a drawing implement as valid QBlending techniques approach to using his pencil. art, and teaches
QEffects of ageing
as any pencil. This leads into a QLight and shadow
The 3/4 Head is sold in two parts his Anatomy of
discussion about the psychology of of roughly equal length, priced at Style workshops
Length
drawing, and how something as simple 194 minutes AUD $16 each, but this is one of at universities
as the way you use an eraser can those times when you’ll get the most and online.
Rating
shape your confidence as an artist, value from buying both of these
for good or ill.
+++++ rewarding instalments.
www.pjartworks.com
August 2019 95
Reviews
The book reveals that scale models

were used to determine the size of
Princess Jasmine’s bedroom, which
helped inform the concept art.
© Disney. All rights reserved

The Art and Making of Aladdin
WISH LIST Return to the city of Agrabah with this behind-the-scenes look
at Disney’s live-action adaptation of its stone-cold classic animation
Author Emily Zemler Publisher Titan Books Price £35 Web www.titanbooks.com Available Now
ive-action versions of classic thinking. Take the city of Agrabah: a examine the explorations of the Genie’s
L Disney animations have

been hitting the big screen
over the past few years,
heady mix of palatial opulence, busy
market streets and gloomy slums. It’s
a prime opportunity to show off
many guises (even if they are reined in
for the finished film)? How about visual
approaches for Aladdin, Princess
and now it’s the turn of Aladdin. developed concepts and abandoned Jasmine or Jafar? Sorry, nothing to see
Of course, the 1992 film was itself a early ideas. Instead, any environment here. There’s barely more than a page
remake of a tale found in The Arabian art is limited to a selection of polished of costume concepts, while coverage
Nights. And while Disney polished artworks that are just a short hop from of creatures such as Abu, Aladdin’s pet
Aladdin and the Magic Lamp for the finished product. And if you want monkey, is limited to 3D wireframes
contemporary audiences, that doesn’t concepts of the inhabitants and and fully rendered models.
mean more can’t be done with the countless objects found in the bustling Despite the book’s two-handed title,
story. As director Guy Ritchie points city port, prepare for disappointment. there’s a clear imbalance between
out in the book’s introduction, the new It’s the same story with character insights on the art and the ‘making of’.
film “needed to have just the right design. Hands up who’s keen to The latter comes off much better, and
balance of old and new.” there’s plenty of information to be
Like the treasures inside the film’s
Cave of Wonders, you might imagine
There’s a clear imbalance gleaned on the casting, costumes,
stunts and locations in terms of the
a wealth of concept art on offer within
the book, which helped to fire up
between insights on the art film-making process. A breakdown of
the memorable parade scene (“Prince
Ritchie’s vision. Sadly, that’s wishful and the ‘making of’ Ali! Fabulous he! Ali Ababwa…”)
displays some meticulous scale-model
One of a handful of exterior work of the marketplace, dancers and
concepts presented in the book,
showing off Agrabah’s market. animals, for example.
The high-quality film-making
photography, together with close-ups
of clothing and accessories, proves
that a lot of imaginative vis-dev work
© Disney. All rights reserved
went into the design of Aladdin. It’s

just a pity that this book doesn’t
explore this as satisfactorily as the on-
set observations. And there’s the rub.
RATING +++
96 August 2019
Inspiration Books
David Lynch: Someone Is In My House

DARK ART Uncover the artistic portfolio of the celebrated American
filmmaker with this collection of his drawings, paintings and installations
Author Kristine McKenna Publisher Prestel Price £50 Web https://prestelpublishing.randomhouse.de Available Now
he title ‘celebrity painter’
T doesn’t sit well with David

Lynch. In the preface to
this collection of his work,
the filmmaker points out that “once
you get known for one thing, it’s
really hard to jump-start the other
thing and be taken seriously for it.”
Someone Is In My House
accompanies a retrospective of
Lynch’s work at Maastricht’s
Bonnefanten Museum, which aims to correct this imbalance. The book the only artist Lynch has singled as a
brings together six decades worth of significant influence, can be seen in
Lynch’s artistic output. An introduction paintings of flaming cities, drawings of
by his biographer, Kristine McKenna, bestiality on the front lawn, and prints
and essays by writers Michael Chabon of distorted nudes. Sure to fascinate
and Petra Giloy-Hirtz help to and disturb Lynch fans and general
recalibrate the reader’s view of Lynch readers, this glimpse into his wider
before venturing into his work. creative output shows how an artist’s
David Lynch painted Broken down by medium, the art on vision can span different mediums.
Six Men Getting Sick display here is as haunting as you’d
RATING ++++
in 1967, as part of a
short animated film. expect. The impact of Francis Bacon,
Gustav Klimt: Landscapes

NEW HORIZONS Famed for his striking portrait works, this collection of
landscape paintings from the Austrian artist is sure to broaden the mind
Author Stephan Koja Publisher Prestel Price £15 Web https://prestelpublishing.randomhouse.de Available Now
he conventional landscapes
T and experimental art that

preoccupied Klimt during
the later decades of his life
are finally given the credit they
deserve in Stephan Koja’s book.
Tracing Klimt’s landscape studies
back to their roots during the late
eighteen hundreds, Stephan’s book
brings together all of the known scenic
paintings by the artist. Presented in
colour where possible, the author has even rounded up images of pieces that Perhaps the book’s biggest appeal is
are currently lost. its studies of Klimt’s art. These give the
Essays on Klimt’s landscape work reader the chance to study the artist’s
provide in-depth analysis on his brushwork in a way that isn’t possible
paintings in regards to Viennese outside of exhibitions. And with his
Modernism, other Austrian landscape works spread out among galleries and
painters, and even how they relate to private collections, this could be the
the telescope. While these passages most enlightening way to examine
Avenue in Schloss
Kammer Park was can verge on the densely academic, Klimt’s landscapes.
painted by Gustav they remain accessible enough to
RATING ++++
Klimt in 1912, six years
before his death. enrich the study of casual readers.
August 2019 97
THE WORLD’S LEADING DESIGN MAGAZINE
THE NEW ISSUE, A SURVIVAL GUIDE FOR

GRADUATES, IS ON SALE 21 JUNE
Computer Arts connects you to the design industry and helps you solve
daily design challenges with invaluable industry insight and advice
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See page 6 now!
Workshops assets are available…

If you see the video workshop badge then you can watch the artist
in action. Turn to page 6 to see how you can get hold of the video.
Traditional Artist
Inspiration and advice from the best pro artists
104 100
This issue:
100 Traditional art FXPosé
Explore this month’s selection of
the finest traditional art, which
has been sent in by you!
104 Workshop: Abstract
mark-making skills
Vanessa Lemen uses abstract
mark-making to conjure macro
fantastical worlds within her
imaginative realism artworks.
110 114
110 Workshop: Paint
with pencil and acrylic
Tran Nguyen elaborates on the
steps for creating an original
work of art for an exhibition.
114 First Impressions:
Mong Sang
We speak to the South Korean
artist whose work primarily has
to resonate with herself.
August 2019 99
Traditional Artist FXPosé
SHOWCASING THE FINEST TRADITIONAL ARTISTS
Margaret Morales
LOCATION: Philippines MEDIA: Watercolour, ink, graphite, acrylic WEB: www.margaretmorales.com
Margaret is known for her portraits of mysterious women.

Her work is inspired by her love for natural elements, role-
playing games, fantasy images and Japanese culture.
1 2
1 THE STARS WHO LISTEN

“Inspired by a book I was reading at that
time, I illustrated a version of a star who
grants wishes at twilight.”
2 LOST AT SEA
“Being born in a tropical country, I’ve
always been fascinated with the ocean –
especially the magical creatures that may
live in the deep.”
3 SLEEPS WITH BUTTERFLIES

“Inspired by Tori Amos’ song, the painting
evokes the calm sense of dreams and how
slumber can bring out one’s inner peace.”
4 KAKOMU
“With this painting I wanted to explore
the flow of our imagination, represented by
water, as it passes through our body and
within our subconscious.”

Inspirational art

Traditional Artist FXPosé
Daniel Bilmes
LOCATION: US MEDIA: Oils WEB: www.danielbilmes.com
Daniel is a contemporary painter who’s

based in Los Angeles. “I’ve always found
myself interested in how something is
constructed,” he says. “The visual rhythm
of textures fascinates me.”
1
1 WOVEN
“Woven from the
fabric of reality by
the hands of fate.”
2 VEILS OF PERCEPTION
“I wanted to show different
versions of the same personality, and
3 AUGUR
“We’re able to see through
our perceptions, but are also
perception of self. The figure looking blinded by them. What is real
at the viewer is the only one that’s when paradigms shift? What is
momentarily self-aware.” knowledge next to infinity?”

Inspirational art

Traditional Artist Workshop
104 August 2019

In depth Abstract mark-making
Oils
ABSTRACT MARK
MAKING SKILLS
VANESSA LEMEN uses abstract mark-making to conjure macro fantastical
worlds within her imaginative realism portraits and compositions in oil
M
y painting process the area or the stage of the painting In my studio I have clips that
hold smaller paintings in
can be described as I’m working on, but overall it’s just a nooks and spaces – wherever
there’s room to store more
responsive and matter of digging deeper and wet paintings and have them
permeable, and I’m becoming lost in a place of reflection, around and visible to me.
fascinated with finding curiosity and wonder.
similarities between the familiar and What’s amazing to think about is
the unknown. There’s so much life in how the exploration pertains to the
both aspects, in the possibility of finished painting, too. How the
chance, and in what many might call dialogue between artist and surface
mistakes or imperfections. gets passed along in the form of the
It’s what I love about using different painting itself. There’s a story there
tools and materials, and making now in the marks, like subtle runes
abstract marks. It enables me to that are left to be deciphered, and it’s
explore and learn while in unknown open to different interpretations. It
territory. Experimenting with new might even be something that can’t
tools provokes new ways of quite be put into words – and that
processing something, and guides me may be one of the biggest
to the possibility of connecting with motivations for us to keep scratching Vanessa is an award-winning
something on the fringes or beyond. at the surface. The paintings we Ron and I also have a studio painter living in Carlsbad,
away from home, where we
Exploration is essential to the create and share can invite someone teach classes in drawing and
CA with her artist husband
process, and discoveries can occur in in to connect, to experience that painting. This school studio is Ron and their two cats,
not far from our home, and is
all areas of painting, be it in the intangible place, and to communicate an extension of our Rey and Maz. You can see more of her art
abstract or representational areas. It’s with one another in ways that are workspace as well as a great at www.vanessalemenart.com or on
hub for creatives to meet,
different sometimes depending on universally understood. learn, and make art together. Instagram (@vanessalemen).
August 2019 105

1 Initial mark-making
When I’m in the early stage of the painting process, it usually involves
2 Choosing a panel
When I’m finished with a day or two of making
making marks on several different panels. It’s a reactive process, and not marks on several panels, I’ll set out around my studio on
necessarily about composing a picture with a set plan or outcome. Eventually, drying racks and shelves, so that I can live with them and
something will begin to show itself in the marks that I’m making, and I’ll continue let them be there in my peripheral vision, because I might
working on that panel that speaks to me the most. be working on another painting.
MATERIALS
CANVAS
Q 8x10-inch gessoed
masonite panel
PAINTS
Q Oil paints (various
colours/brands)
TOOLS
Q Silicone spatulas
and combs
Q Sable brushes
and mops
Q Bristle brushes
MISCELLANEOUS
Q Linseed oil
Q Odourless
mineral spirits
Q Rags and paper
towels (to paint with as
well as for cleaning)
Q Mahl stick (for the
rendered areas)
3 What I’m drawn to

There can be many reasons why I might feel that
4 Mark-making as note-taking
With various panels surrounding me, most often
an abstract is successful as a start to work into. It could when one catches my eye, it’s because I saw something
be the composition, an interesting colour scheme, strong in the marks that stood out to me – very similar to how
contrast, subtlety, a balance of hard and soft edges… it we see images in clouds. That’s when I’ll take it over to
can be so varied. Sometimes I’m drawn to one as more of my easel and start to make some marks as notes of what
a challenge, with problems that I’m excited to solve. I saw in the abstract painting.
106 August 2019

5 Thin layers of light

I add lights on the areas of the face where I
previously noted in the abstract marks. I build things up in
6 Further exploration on the canvas
I add more light on the face as well as darks surrounding the head. While the
thin layers of Titanium buff. This colour is a little less new darks are still wet, I scrape out areas or splatter mineral spirits in order to
opaque than Titanium white, and has less of a tendency create more texture and abstract possibilities to work with. I see the darks areas as
to cool the colours down that I’m painting on top of. a combination of headdress and landscape, but abstract in its visual representation.
7 Softening the figure’s gaze

I work on the face a bit to soften the gaze and
develop the features and small forms within the overall
face shape. I also soften some edges, to give the illusion
8 Creating small forms
I build up some darks defining smaller forms within the headdress and areas
of depth as the edge would recede back into the distance surrounding the face, and work on the far eye to add lights and definition. I’m still
since the face is a soft, rounded form with volume to it. working out how to integrate that eye with the abstract marks surrounding it.
August 2019 107

10 Consolidating values
9 Further exploration in the background
I shift gears to work on broader areas for a bit, adding opaque colourful
Adding the darks and gradations in the
foreground shapes next to the light in the atmosphere
lights in more atmospheric areas of the background. These areas I can experiment really helps to push the contrast and creates a visual
with and respond to, rather than get caught up trying to force the area of the eye to hierarchy. Sometimes working in an area adjacent to
be a certain way. I’ll return to work on the eye again eventually. another area is what the other area needs.
11 Weaving colour with brushstrokes

I work on developing volumes in the fleshy forms on the face as well as some details in the features. In these later stages, I often use a
smaller brush like this in larger areas to weave subtle colour shifts together.
108 August 2019

12 Defining and integrating

Defining small volumes within these areas helps to
integrate the picture – from colour and value shifts as well
as from details to larger, more abstract atmospheric
13 Inspired by natural surroundings
Working in this “environmental headdress” and the macro worlds contained
areas. Prior to doing this, this part of the hair/headdress within it, I’ve no doubt that I’m inspired by the walks I take especially when it’s foggy
next to the brow and cheekbone lacked definition and or misty in the canyons near my house, and the trees and bushes show themselves
I wanted to add something inside that shape. in distant pockets, moving in and out of the mist and morning or evening light.
14 Light, movement and atmosphere

Another subconscious influence that makes its
way to the panel is the brilliant sunsets and sunrises I’ve
encountered, and the light through trees late in the
afternoon. The sense of movement and atmosphere is
15 Applying the final touches
I add the last touches after having glazed the entire face with a thin
influenced by the dynamic of the overall shapes and transparent layer of a combination of linseed oil, Burnt umber and Ultramarine blue.
forms in the composition, and I reinforce that with the I also add in highlights in the eyes as well as on the mouth, and a few small accents
direction of my brushstrokes. get applied where a small detail helps to pull the overall piece together.
August 2019 109

Traditional Artist Workshops
Pencil Acrylic
PAINT WITH PENCIL

AND ACRYLIC
TRAN NGUYEN reveals the process behind her painting In the Dead of Night, and
elaborates on the steps for creating an original work of art for exhibition
T
his painting was created creature that’s half bird and half artist’s aesthetic without restraints,
for the group exhibition woman. My goal was to portray the no matter how esoteric it can be.
Gaia Reborn, which took creature’s momentous return to the They’re meant to evoke a response
place in May at Urban sea and her reunion with Gaia. from the viewer and tell a story
Nation: Museum for I felt the siren should be captured through the painter’s eyes. I see them
Urban Contemporary Art in Berlin, in an almost iconic manner and as raw interpretations of ideas that
Germany. Curated by the folks from composed centrally, but also provide are told through a personal
Beautiful Bizarre, the show’s theme an environment for her to exist in symbology that has developed over
focused on Mother Earth, and the and influence. To offset the static the course of an artist’s career.
harmony between her creations and tendency of central compositions, Tran is an award-winning
humanity. The exhibition brought I depicted the instant right before her freelance artist. She has
together new works from over 50 of body impacts the sea to hint a bit of worked with clients such as
the world’s best contemporary artists. movement. In the foreground is a World Wildlife Fund, Tiger
Photo by Jo McCune
With the theme of Gaia in mind, cottage with three inhabitants who Beer, Smithsonian magazine and Netflix,
I decided to approach the painting come out to witness her return home. and has showcased with galleries across
with a fantastical mindset, choosing Artworks showcased in galleries the world. You can see more of her work by
to depict the siren: a mythological and museums should spotlight the visiting www.mynameistran.com.
Step-by-step: Creating an original work of art for public display
1 DRAW ROUGH THUMBNAILS

I begin conceptualising my ideas with
rough thumbnail sketches. With a HB pencil,
2 ADD PENCIL COLOURS
Once the sketch has been refined to a
tight line drawing, I scan, enlarge then and
3 EXECUTE THE FORM
Painting with a limited colour palette,
I use a glazing technique to add value. By
I establish the general shape of the siren and print it directly on to hot press watercolour overlaying glazes upon glazes of diluted
its placement within the environment. I find paper. Afterwards, I use Prismacolor layers of acrylic paint on top of each other,
that the more loose I am with my sketches, Verithins pencils, in cerulean blue and I slowly generate form to the siren’s scallop-
the better my compositions will be. I’m less brown, to redefine the line drawing while like feathers. After the shadows are in place,
likely to fall in love my pencil strokes, and I colouring in the areas of value. This helps the highlights are painted in using acrylics in
become more daring with the way I handle solidify where my lights and darks will be titanium white and Prismacolor pencils in
the design and flow of the composition. during the painting phase. white and peach.
110 August 2019

Artist insight Pencil and acrylic
August 2019 111

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Artist insight Pencil and acrylic
Points of interest: A fall from sky to sea
Presenting the art with

visible deckle edges
When showcasing in galleries or museums,
it’s important to think about how your
painting will be presented in the space. I love
giving my originals deckle edges and
framing it so that this quality is accentuated.
Simply using a ruler to tear rather than cut
the paper can help reconfirm its authenticity
Finding the and give it an original touch.
perfect frame
It’s crucial to find a frame that
complements the aesthetic of
your painting. Personally, I prefer
simple, white wooden frames that
act as shadow boxes. The
painting is top-float mounted to
showcase the deckle edges of the
paper, which also creates the
illusion that the painting is
suspended in mid-air. I usually
gravitate towards frames that
supplement the art rather than
one that distracts.
Burst of warmth
against cool
The painting is made with a limited colour
palette of different shades of blue. To help
break up this monotony, sparing additions
of warm reds and pinks can liven it up and
help lead the viewer’s eye. To offset its cool
tones, I add a burst of crimson red to the
siren’s eyes and lips. These spots of
saturated warm colour will balance the
overall cool temperature of the painting.
Adding a touch of life

Subtle details can bring a lot of movement
and life to a painting. Because the overall
composition is central and somewhat static,
MATERIALS the addition of smoke to the chimney can
go a long way. Details like this can help
PAPER elaborate the painting’s story and set the
Q Arches 300lb hot mood. It fills the viewer in on the tale of the
siren and the people who live in the house
press watercolour paper
at the top of the hill.
BRUSHES
Q Escoda Opera round
Q Winsor & Newton
Winton filbert
Q Winsor & Newton
Monarch filbert
PENCILS
Q Prismacolor Premiere
pencil
Q Prismacolor Verithin
Q Tombow HB and 2B
Q Pentel .05mm
mechanical pencil
ACRYLIC PAINTS
Q Golden acrylics in
Hi-Flow, Heavy Body
and Fluid, Liquitex
acrylics in Heavy Body
August 2019 113

Traditional Artist Interview
First Impressions
Mong Sang Is making a living as an artist all
We speak to the you thought it would be?
So far, making a living as an artist is
South Korean artist not as easy as I imagined it would
whose work has to be. Producing personal pieces
makes me happy, but also raises
resonate from within questions about whether it’s
financially viable to create art that
Where did you grow only I’m interested in seeing. At the
up and how has this same time, creating art that has
influenced your art? popular appeal can have a negative
I grew up in South impact on my pride and self-esteem.
Korea. However, my Clearly, there’ll be times when my
childhood hasn’t had much of an artistic values are shaken up.
effect on my art. I like to think that Reaching a compromise that
my adult life and my surroundings satisfies both viewpoints is a
are influencing my current work. lifelong challenge for all artists.
Does one person stand out as being How has your painting style
helpful during your early years? evolved over the years?
I studied drawing from sixth grade I’ve studied various painting styles
in elementary school until I was a starting from the time when I was at
senior in high school, and I was elementary school. I’ve come to
influenced by teachers and friends realise that I’ll never be happy with
who I met at various academies. Our simple doodling on paper. I have to
discussions about paintings and put a lot of time and effort into my
artists helped me to carve out my
own art path. MATURITY I have to put a lot of time and effort
“I’ve often been told, ‘You must
be mature.’ I hate this reality
Can you describe the place where
you usually create your art?
of being forced into maturity.
I don’t want to be oppressed
into my art, even if I accidently ruin
I prefer to work at home, because
by what I do when others
judge me as being either
mature or immature.”
my WIP on the way
I need to be in comfortable and
familiar surroundings to be creative. Do you have an art tool or ritual art and complete it to my own
When I’m feeling relaxed, I’m able
EGO that you simply can’t live without? standards, even if I accidently ruin
“I imagined myself as an
to put what I’m thinking into the explorer looking for a treasure My art is dependent on thick, high- my WIP on the way. I’d rather screw
called ‘self’ that continues to
painting. However, sometimes grow in the adventure of ‘life.’ quality paper, watercolours and a up my art than call a rough drawing
I meet up with my fellow painters During this time, you’ll have to very fine brush. Take any of these complete. I’m happy if my art can be
endure all sorts of emotions to
and work together in a café. find your completed self.” away and I’m struggling. I always described as unique and exquisite.
work in bright surroundings because Over time I’ve focused on improving
I find a dark environment to be too my art skills and settling down on a
much of a distraction when I’m painting style.
drawing, oddly enough. And I can’t
work at all and quickly get bored if What does the future hold for you?
I’m not listening to music. I think I’ll still be painting with my
sore wrist in the future! But I hope
What, outside of art, has most that I can make a living by painting
influenced your artwork? while preparing for more diverse
It’s the emotion that I feel in my exhibitions and working on
daily life. No matter who I meet and commissioned pieces. Above all,
no matter what I do, even if it’s I hope I could get more love from
wallowing alone at home and eating the public for ‘my’ favourite artwork,
snacks, the source of all the not for someone else’s vision.
influences behind my paintings You can see more of Mong Sang’s work
comes from within. at www.instagram.com/mong__sang.
114 August 2019

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2 SOLVING THE WORLD’S

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Jenny is a Thai digital freelance artist who’s enrolled at Syracuse University

2 MORNING COLLEGE COFFEE

14 August 2019 Want to submit your work? Visit http://ifxm.ag/getinifx

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While studying architectural design, Samantha became interested

fireflies flying around. I wanted to create a

3 MARKETPLACE (AERIAL VIEW)

4 MARKETPLACE (VIEW FROM

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© & TM Lucasﬁlm Ltd

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AT THE CORE OF THE DIGITAL ART COMMUNITY

Elias Chatzoudis used Photoshop

Photoshop is arguably the most some artists, others viewed having to

Rebelle enables you PHILIPP NEUNDORF

If you’re looking for a program that provides a true-to-life

highly professional tool – so much so layer compositing and unique digital

The Temporal Color

Corel’s Painter has undergone a chosen paper’s texture and grain,

ArtRage STEVE GOAD

Platform: OS X 10.8 or newer;

ArtRage is designed to ensure artists

Krita was created by a team of artists who wanted to put

Affinity Designer has been snapping at the heels of Adobe’s

A basic but capable digital art tool,

SumoPaint is an online painting

Clip Studio Paint

This offer is ONLY available via our online shop

Spiridon Giannakis worked

Detail of Pauline Voß’s